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Guildhall Artist Masters

Programme & module specifications &


assessment criteria for 2018/19

Programme details may change in future academic years, please consult the “Gold copy” for
the given year. Any programme, module and assessment criteria amendments will be
approved following consultation of the student body through the School’s academic
governance committee framework and in-line with the requirements of the School’s
Academic Regulatory Framework.
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Contents

1. Guildhall Artist Masters programme specification 5


1a. Aims of the Programme 5
1b. Criteria for Admission 6
1c. Learning Outcomes 8
1d. Programme Structure 9
1e. Teaching & Learning Methodology and Assessment Strategy 11
1f. Years and Modules 12
1g. Curriculum Maps 14
1h. Assessment Regulations 15

2. Principal study module specifications


2a. Graduate Certificate: Principal Study in Performance 24
2b. Principal Study in Performance (Part 1) 26
2c. Performance Portfolio (Part 2) 28
2d. Principal Study in Orchestral Artistry (Part 1 and Part 2) 31
2e. Graduate Certificate: Principal Study in Composition 35
2f. Principal Study in Composition (Part 1) 38
2g. Composition Portfolio (Part 2) 41
2h. Performance Practice I & II 44

3. Reflective Practice modules


3a. Reflective Practice (GC) 48
3b. Reflective Practice (Part 1) 51
3c. Critique of Personal Development 54

4. Elective modules
4a. Advanced Techniques in composition A & B 58
4b. Body Matters 61
4c. Chamber Music 63
4d. Collaborative Practice: Cross-Arts Context 65
4e. Collaborative Practice: Education Contexts 68
4f. Composition for Media 72
4g. Conducting 74
4h. Contextual Studies – The Forbidden Saxophone 76
4i. Electro-Acoustic Music 78
4j. Historical Performance: Performance 81
4k. Historical performance: Principles and Research 83
4l. Interpretation through Improvisation 86
4m. Jazz Composition & Arranging (Jazz Students) 89
4n. Jazz improvisation (Jazz Students) 91
4o. Music, Philosophy and the Arts 93
4p. Opera and Theatre A & B (singers) 95
4q. PianoWorks A & B (pianists) 97
4r. Research Project 99

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4s. Song Accompaniment A & B (pianists) 103
4t. Vocal Repertoire A & B (singers) 105
4u. Voiceworks A & B (singers) 108
4v. Wind, Brass & Percussion Solo Recital 110

5. Leadership Pathway modules for AY 18/19 only


5a. Leadership Principal study (Part 1) 112
5b. Leadership Portfolio (Part 2) 115
5c. Professional Practice I & II 118

6. Assessment Criteria (Level 7)


6a. Performance 122
6b. Composition, Portfolio submission 123
6c. Reflection 124
6d. Academic 125
6e. Artistic 126
6f Leadership Pathway 127

7. Breakdown of Principal Study hours 129

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Guildhall Artist Masters
1. Programme Title
Programme
2. Programme Accredited by (if applicable)
MMus (Part1)
3. Final qualification and level of award MPerf (Part2)
MComp (Part2)
PGDip
4. Exit awards (where relevant)
Graduate Certificate
5. Relevant QAA subject benchmarking
n/a
group(s)
6. SITS code
7. Approved for the year of study 2018/19
8. Head of Programme Alessandro Timossi
9. Pathway Leader (where relevant) Heads of Department

10. Aims of the Programme

The Programme aims to:


• Develop to professional standards each student’s abilities as a practical musician, according to the individual
pathway and Principal Study, demonstrating technical expertise and musical insight.
• Develop to professional standards each student’s acquisition and communication of an individual artistic
voice in Principal Study.
• Embed in each student a capacity to develop a mature artistic and professional identity through independent
self-reflection.
• Develop an understanding of the integration of research and Principal Study as it may relate to the relevant
pathways.
• Give opportunity to acquire further specialist or additional knowledge and skills in at least one area of
supportive study of the student’s choice.
• Develop each student’s personal and artistic trajectory through the integration of the physical, emotional and
intellectual aspects of music making.
• Develop the ability to articulate musical processes, experiences and identity, demonstrating self-awareness
and an appreciation of wider artistic thought.
• Develop the ability to communicate musical processes, experiences and identity to diverse audiences through
a variety of media.
• Stimulate students to expand their own intellectual, emotional and physical horizons and resources for a life
of artistic and professional fulfilment.
• Give each student the resources to understand, engage and enter the professional music world, including self-
reliance and confidence to further their career independently through planning and implementing
independent external projects, individually or in collaboration.
• Provide the students with a learning environment that enables them to recognise and nurture their strengths,
recognise and extend their ambitions, assimilate feedback from different sources including peers and
integrate it in their development, and supports their need for individual study and reflective practice.
• Provide students with a learning and experiential environment that encourages awareness, reflection and
development as artists in society.

The Programme supports students’ future career development / further study by:
• Designing the curriculum & training to match professional needs.
• Giving students opportunities of contacts with the outside professional world via (i) teachers drawn from the
professions; (ii) final recitals/portfolios assessed by leading artists (internal professors and external assessors);

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(iii) projects directed by external conductors and international visiting artists of international renown, and
(iv) use of professional venues for performances.
• Integrating within the Programme considerable opportunities for experiential learning and professional
exposure, in collaboration with high profile artists and artistic organisations.
• Developing a broad range of musical and academic skills for further independent learning.

11. Criteria for admission to the Programme

11.1 Selection Process


A student is admitted to the Guildhall Artist Programme in one of the following two pathways: Performance
or Composition

In the Performance Pathway, the available principal studies are:


Strings (Violin, Viola, Cello, Double Bass, Guitar and Harp);
Wind, Brass and Percussion (Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Bass Trombone,
Tuba, Saxophone, Recorder, Timpani and Percussion);
Piano;
Piano Accompanist;
Voice;
Opera Studies (Voice, Repetiteur);
Chamber Music
Jazz (Saxophone, Flute, Clarinet, Trumpet, Trombone, Tuba, Violin, Piano, Guitar, Double Bass,
Drums/Percussion, Voice or other instruments by negotiation);
Historical Performance (Medieval to Classical instruments, Vocal, Director/Continuo);
Orchestral Artistry (for strings and WBP) in association with the London Symphony Orchestra.

In the Composition Pathway the Principal Study is exclusively Composition

Selection to the programme is based on a Principal Study audition for the Performance Pathway (according to
both Principal Study and professional specialism; for the Orchestral Artistry specialism members of the LSO may
be present at audition) or evaluation of compositions and colloquium for the Composition Pathway. This
audition may consist of more than one round (e.g. for Opera Studies) and will also include a brief interview.

In some circumstances (e.g. overseas applicants who are unable to attend the international auditions when
offered), this process may be carried out by submission of a video recording of a live performance, submission of
compositions, portfolio of activities and other relevant material, and a telephone or video call (e.g. Skype)
interview arranged by the School.

11.2 Standard Requirements


At the entry audition/colloquium, candidates are assessed on their potential to achieve the minimum standard of
Master’s level in PS, according to the audition report evaluation criteria for the relevant pathway. As entry is
competitive within each pathway, in practice candidates would normally need to demonstrate a higher grading
than the minimum.

The minimum academic qualification for entry is an Undergraduate degree with Honours in Music, or an
international equivalent. Undergraduate degrees with Honours in any other subject may be considered if
accompanied by evidence of adequate musical activities and achievements.

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11.3 English Language requirements
Non-native English speakers are required to have achieved the stated score in one of the following examinations:

• IELTS (International English Language Testing Service) - a minimum overall score of 5.5 with no component
falling below 5.5 (reading, writing, speaking and listening)

In appropriate circumstances (e.g. a student that has a strong command of the language but no official certificate,
or that has taken other language assessment-types, e.g. TOEFL), normally identified at the audition/colloquium
stage, this requirement may be replaced by an internal assessment of English in reading, writing, listening and
speaking.

The School reserves the right to require non-English-speaking students to attend an internal non-credited class
in the English language once the Academic Year has started.

11.4 Non-standard entry


The School evaluates individually all cases of non-standard and advanced standing applicants. For these students
the selection process is the same as for standard applicants, with the following options:

 Non-standard applicants

i) Students that do not meet the standard academic qualifications are required to satisfy the School that by
th
15 July before the beginning of term (or other specified earlier date) they are able, in terms of general
musical knowledge and general academic abilities, to undertake a Masters Programme of study in music
performance or composition. Evidence, set out by the School and provided by the student, might consist
of, but not limited to:
• Submission of academic written work
• Submission of evidence of artistic and professional musical experience
ii) Students that do not meet the entry criteria in relation to level of Principal Study, but show significant
potential are required to enrol on the Extended Guildhall Artist Master’s Programme, the first year of
which is called the Graduate Certificate Year and is aimed at a focused and intense development in
Principal Study.

 Advanced-standing applicants

Application for advanced standing in the Programme (direct entry to Part2) is permitted only for students
transferring from an equivalent institution and programme nationally or internationally. Advanced standing
through the accreditation of other types of prior learning is not accepted. Advanced Standing for both the
Orchestral Artistry and Opera Studies specialisms is not available.

11.5 Age of entry


For applicants who have not attained the age of eighteen years by the day of enrolment, a special support scheme
that includes especially selected additional personal tutors (DBS checked), is required. Any special scheme of study
requires the approval of the Academic Board.

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12. Programme learning outcomes:
* Indicates transferable skill
Level 7
A. Technique and knowledge
A1: Perform/compose/produce with a level of technical control, expertise and sophistication consistent with
entry to the music profession
A2: Perform/compose/produce with a level of musical insight consistent with entry to the music profession
A3: Perform/compose with a systematic knowledge of relevant repertoires and models, and their artistic,
stylistic, technical, and historical features and contexts, and their relevance to the contemporary musical
world
A4: Question and evaluate systematically personal learning trajectories and experiences*
A5: Demonstrate comprehensive methods and resources that enable further enquiry into practical music and/or
musicology
A6: Understand Music in contemporary society and contemporary professional music making
A7: Expand own intellectual and emotional resources for individual and original expression and for a life of
artistic and professional fulfilment*
A8: Refine a personal musical practice with an individual understanding of the physiology and psychology of
performance
B. Performance and/or creative output
B1: Perform/compose/produce with a level of artistic vision and originality consistent with entry to the music
profession
B2: Perform/compose/produce with autonomous and sophisticated individual imagination and intentions
beyond the assimilation of received paradigms
B3: Combine research, insights and experiences into credible syntheses of personal and artistic development*
B4: Demonstrate the systematic integration and cross fertilization of the practical, the theoretical, the
individual insight and the experiential*
C. Communication and artistic values
C1: Perform/compose/produce showing critical awareness and command of effective and original musical
communication
C2: Perform/compose/produce applying systematic consideration of the relevant physical and psychological
demands
C3: Communicate as an autonomous musician, confident in own original artistic voice and purpose, and in
technical and intellectual abilities
C4: Demonstrate a critical approach to the comprehensive evaluation and processing of practical knowledge
and experiences, with both rigour and imagination*
C5: Communicate effectively in writing and verbally in the English language to different audiences and in
different contexts*
C6: Participate effectively in team work*
C7: Demonstrate a range of IT and administrative skills required to work as a professional musician*
C8: Take direct responsibility for own professional future through having a capacity to make realistic/informed
choices and decisions*
C9: Promote music and contribute to its function in society with integrity and attention to the ethical values of
art

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D. Professional protocols
On successful completion of this programme the student will have knowledge and understanding of:
D1: Engage successfully and with artistic integrity and critical approach in all relevant musical professional
situations
D2: Identify and interact efficiently and confidently with the specific as well as broad employment market*
D3: Demonstrate effective personal presentation, organisation and time management*
D4: Be aware of, and promote, personal responsibility, self-discipline and professional codes of conduct*
D5: Practise and promote tolerance, responsible leadership and fair judgement*

13. Programme Structure:


Programme Duration Guildhall Artist Masters: two years (Part1, Part2)
(years) Extended Guildhall Artist Masters: three years (Graduate Certificate year, Part1, Part2)
Mode of Delivery Grad Cert and Part 2 only available FT
(full/part-time/other) Part 1 is available FT or 2-year PT (but for Opera vocal students, Part 1 is two FT years
only)
Total student learning Guildhall Artist Masters 3600
hours Extended Guildhall Artist Masters 4600
% split teaching 1800 notional learning hours per year (in Parts 1 and 2), split broadly 30% contact and
contact hours: self- 70% private study depending on Principal Study. Grad Cert is around 1100 hours.
directed practice & However, the demands of a practical music programme are necessarily unevenly spread
study* across the year. This is especially the case when there are orchestral, ensemble or vocal
projects, or if students have performance engagements outside the School, or take part
in competitions. Further, each individual student’s learning and practice methods and
artistic engagements vary considerably.

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The Guildhall Artist Masters Programme has two Parts. Part One is one year full-time or two years part-time
(Performance* & Composition pathways). Part Two is one year full-time for all pathways. Progression from
Part One to Part Two is conditional upon a student achieving a specific Principal Study result, and in submitting
and having approved a plan of artistic and professional development for Part Two.
* The Opera specialism within the Performance pathway is full-time only and Part 1 takes 2 academic years. Students
who have completed Part 1 Opera and want to continue to Part 2 will need to do so in the Vocal Studies department.
Parts Award Core modules Elective modules Total credits
Part 1 MMus Principal Study Reflective Total of 40 credits 180
120 credits (L7) Practice (L7) 240 [Opera students]
20 credits (L7)
Performance
Practice
60 credits (L7)
[Opera students]
PGDip Principal Study Reflective 140 [no transfer to Part
120 credits (L7) Practice 2]
20 credits (L7)
Part 2 MPerf PS Projects Portfolio Critique 180
MComp 150 credits (L7) 30 credits (L7)

Extended Guildhall Artist Masters Programme

The Extended Guildhall Artist Programme has three Parts. Parts 1 and 2 are as above, and are preceded by the
Graduate Certificate year (which can only be taken on a full-time basis). Students who are enrolled on the
Extended Guildhall Artist Programme will need to pass successfully the Graduate Certificate year, achieving a
merit level in the Principal Study end-of-year aggregate mark, to continue to Part One.
In the Performance Pathway, progression to Part 1, does not grant automatic admission to the Orchestral
Artistry PS module. For this specialism, the Graduate Certificate Year Final Recital may also be used as the
audition process, or a separate audition may be arranged prior to the commencement of the course. Students
otherwise continue onto the Principal Study in Performance (Part 1).
* The Opera specialism within the Performance pathway is full-time only and Part 1 takes 2 academic years. Students
who have completed Part 1 Opera and want to continue to Part 2 will need to do so in the Vocal Studies department.

Parts Award Core modules Elective modules Total credits

GC GradCert Principal Study Reflective 110


Year 90 credits (L6) Practice (GC)
20 credits (L7)
Part 1 MMus Principal Study Reflective Total of 40 credits (L7) 180
120 credits (L7) Practice 240 [Opera students]
20 credits (L7)
Performance
Practice
60 credits (L7)
[Opera students]
PGDip Principal Study Reflective 140 [no transfer to Part 2]
120 credits (L7) Practice
20 credits (L7)
Part 2 MPerf PS Projects Critique 180
MComp Portfolio 30 credits (L7)
150 credits (L7)

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14. Teaching & Learning Methodology & Assessment Strategy

General Approach
The teaching and learning strategies are designed to deliver the programme’s aims through attainment of the
programme’s learning outcomes. Students are engaged in a combination of curriculum-based learning provision,
and experiential learning opportunities.

Teaching & Learning methodologies


The curriculum provision includes all the activities that are taught as part of the degree and contribute to
credits.

The teaching of the Principal Study in Part 1 is based on a core of individual one-to-one lessons that are,
according to the nature and need of different PS and pathways, supported by PS-led classes and activities. The PS
modules are a microcosm of teaching and learning aimed at the specific artistic and professional development of
individual students. In Part 2 the intense work in one-to-one lessons and in PS classes continues, according to
specialisms, whilst at the same time students are required to engage effectively with the artistic world outside the
School.

Experiences in real professional contexts is seen as an integral part of the students’ development, and students are
required to seek independent opportunities of presenting publicly their Principal Study work. In both Parts, PS
learning is regularly monitored through individual meetings with departmental tutors.

PS work is supported by core modules (Reflective Practice in Part 1, and Critique of Personal Development in
Part 2) aimed at each student’s ability to evaluate their own learning as well as artistic and professional
development, in preparation for further continuous independent learning once the degree is completed. This
work is supported by a number of core lectures on physical and psychological aspects of high intensity music
making, on understanding and interacting with the profession, on refining research skills that enhance artistic
and professional profile. This work is supported by an individual mentor through a mix of group and individual
sessions.

A number of specialised elective modules, ranging from performance-based to academic-based, is offered to


enhance learning and development in areas connected and complementary to PS or additional to it.

Experiential learning includes all Principal Study related activities (e.g. solo, ensemble and orchestral
performances, workshops and master classes, open sessions for composers) and academic/research events (e.g.
attendance at ResearchWorks) or cross-school projects which the School offers to the students on a regular basis,
in-house and in partnership with outside venues and organisations, both in the UK and abroad. Some
musicianship classes that are not part of the credited curriculum (Ear Training and Musical Materials) can be also
taken to supplement and develop knowledge and skills.

English language classes are also offered to students, mostly non-native English speakers, who want and need to
develop and refine their use of their spoken as well as their written language.

Students are also encouraged to undertake short-term study exchanges with international institutions recognised
through bilateral agreements with the School, particularly within the EU Erasmus exchange scheme.

Programme assessment strategy


The main types of assessments are: practical examinations, written assignments and individual presentations.
Assessments are mostly based on the evaluation of product (e.g. a performance event, a final written submission,

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an interview or viva voce).

The evaluation of assessment tasks is regulated by a set of assessment criteria which are linked, on the one hand,
to the learning outcomes and, on the other, to specific types of learning ‘product’ (e.g. learning demonstrated
through performance, through artistic/creative output, through research, through reflection on experiences).

The main focus of assessment is formative (for guiding progress) throughout, where feedback is a key feature
across all methods and modules. The number of summative assessments (for evaluating learning) is kept each
year to the minimum necessary depending on the different learning and progression needs of the different
modules. Diagnostic assessments (for calibrating future learning) are carried out specifically in relation to the
allocation of students to electives (e.g. Conducting), or to experiential activities (e.g. orchestral seating).

Most assessments lead to a discrete mark, but there are also pass/fail assessments. Feedback is always included and,
to encourage learning through the understanding and critical evaluation of feedback, marks can be withheld and
given upon request only after a certain amount of time has elapsed. In these cases, an indication of pass/fail is
given at the same time as the feedback.

In addition to the information contained in the module specifications and in the handbooks, the induction of
students on assessment happens within the various curriculum areas. Modes and practices of assessment are
discussed and explained in PS-based meetings for PS modules, or within each of the other modules.

Feedback to students
Informal verbal and written feedback (e.g. in performance platforms) is given to students in all teaching and
learning situations, both curriculum-based and experiential-based. Formal feedback in assessment reports is
given to students immediately after a performance exam. For written assignments, the results are communicated
within six term weeks of the assignment deadline.

Guildhall Artist Masters


Part 1
Core modules: students must take & pass all of the following: Notes
Title Credits Level
Principal Study 120 7
Reflective Practice 20 7
Performance Practice I & II (only for Opera students) 30 (year 1) and 30 (year 2) 7
TOTAL 140 (200 Opera)
Elective Modules: students must also pass at least 40 credits from the following: Notes
Title Credits Level
Advanced Techniques in Composition A and B 10 each 7
Body Matters 10 or 20 7
Chamber Music 10 or 20 7
Collaborative Practice: Cross-Arts contexts 10 or 20 7
Collaborative Practice: Education Contexts 10 or 20 7
Composition for Media 20 7
Conducting 20 7
Contextual Studies: The Forbidden Saxophone 10 7
Electro-Acoustic Music 20 7
Historical Performance: Performance 10 or 20 7
Historical Performance: Principles and Research 10 or 20 7
Interpretation through Improvisation 20 7

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Jazz Composition and Arranging (Jazz students only) 20 7
Jazz Improvisation (Jazz students only) 20 7
Music, Philosophy and the Arts 20 7
Opera & Theatre A and B (singers only) 10 each 7
PianoWorks A and B (pianists only) 10 each 7
Research Project 20 or 40 7
Song accompaniment A and B (pianists only) 10 each 7
Vocal Repertoire A and B (singers only) 10 each 7
Voiceworks A and B (composers and singers only) 10 each 7
WBP Additional solo recital 20 7
TOTAL 40
Part 2
Core modules: students must take & pass all of the following: Notes
Title Credits Level
Principal Study portfolio 150 7
Critique of Personal Development 30 7
TOTAL 180

Extended Guildhall Artist Masters


Graduate Certificate Year
Core modules: students must take & pass all of the following: Notes
Title Credits Level
GC Principal Study 90 6
Reflective Practice (GC) 20 7
TOTAL 110
Part 1
See above for details
Part 2
See above for details Notes

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15. Curriculum map relating programme learning outcomes to modules
A1 A2 A3 A4 A5 A6 A7 A8 B1 B2 B3 B4 C1 C2 C3 C4 C5 C6 C7 C8 C9 D1 D2 D3 D4 D5

Graduate Certificate Year


Principal Study               
Reflective Practice (GC)                
Part 1
Principal Study                 
Reflective Practice                
Perform. Pract. (Opera)      
Advanced Tech. in Comp.          
Body Matters          
Chamber Music            
Coll. Pract.: cross-art                
Coll. Pract.: education                
Composition for Media           
Conducting           
Con. Stds. Forbidden Sax           
Electro-Acoustic music           
Inter. through Improv.          
HP: Performance               
HP: Principles & Research               
Jazz Comp. and Arranging           
Jazz Improvisation            
Music, Phil. and the Arts           
Opera & Theatre            
PianoWorks            
Research Project           
Song Accompaniment            
Vocal Repertoire            
VoiceWorks            
WBP add. solo recital            
Part 2
Principal Study portfolio                   
Critique of Personal Dev.                

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16. Assessment Regulations
These regulations are in addition to the general assessment regulations for taught programmes in the Academic
Regulatory Framework covering Board membership, attendance at examinations and submission of coursework
(including late penalties), extenuating circumstances, external examiners and academic misconduct.

16.1. Requirements to pass a module


To pass a module and acquire the associated credit, a student must complete all the assessment components of the
module and achieve an aggregate mark of no less than 50% (level 7) or 40% (level 6). Any Pass/Fail component
must be passed.

The aggregate mark for a module is the aggregate of the marks for each component listed in the Module
Specification, weighted according to the specified percentage, and assessed according to the stated FHEQ level (7
or 6) and associated criteria. If a student has been assessed in more than the standard number of module
components, those with the highest results are used for calculation. Any module component assessed with
Pass/Fail is not considered for the numerical module aggregate. Compensation of marks happens when the
aggregate mark includes a marginal fail, but the overall numerical result is a pass.

Compensation at module component level


• Compensation is not applicable to Principal Study module components.
• Only one failed component between 40% and 49% (L7) or 30%-39% (L6) is allowed in any other module,
provided the overall aggregate of the module is a pass.
All components scoring less than 40% (L7) or 30% (L6) do not meet sufficiently the compensation margin of the
Learning Outcomes and need to be re-sat even if the overall aggregate of the module is a pass.

These compensation rules do not apply at module sub-component level in any module, where fails below 40% (7)
or 30% (6) can be compensated, apart from a fail for academic misconduct (e.g. plagiarism, collusion).

Re-sit Provisions for a module or module components


In the case of a non-compensatable fail in a module component or of an overall module fail, the School Board of
Examiners requires a student to re-sit that component or module and sets the date, time and format subject to the
following conditions:

• The re-sit activity must be equivalent to the original task.


• A module component/module may be re-sat only once.

A student who successfully completes a re-sit is awarded the minimum pass mark for the failed component. This
minimum re-sit pass mark is aggregated to the mark(s) of the passed component(s) according to the specified
percentage for a full, and not capped, final module mark. The only exception to this might occur for an academic
misconduct failure (e.g. plagiarism, collusion), see the Academic Regulatory Framework for details (3.12).

Any failed module component assessed with Pass/Fail is treated following the above rules in terms of re-sit
provision.

16.2 Requirement to pass a year/part and to progress


To pass a year/part, acquire its associated credit and progress/access to the next year/part, or progress to an award,
a student must complete and pass all the modules associated to that year/part. If a student has been assessed in
more than the standard number of modules (i.e. electives), those with the highest results are used for calculation.
The aggregate mark for a year is the aggregate mark of the individual module marks weighted proportionally to
their credit values.

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Compensation at programme level after fail at module re-sit attempt

If, having made a valid attempt at re-sit, a student fails up to 10 credits, compensation provisions may be applied
by the School Board of Examiners if the required Learning Outcomes have nonetheless been achieved on the basis
of the results of the re-sit and of other modules/module components that share the same LOs. Where
compensation is applied to any module included in the calculation for an award (see 16.3 below), the maximum
classification awarded will be a Pass.

Progression
To progress from the Graduate Certificate Year to Part 1, a student needs to have passed all modules of the GC and
to have gained 60% minimum in the aggregate mark of the PS module.

To progress from Part 1 to Part 2, a student needs to have passed all modules of Part 1, have gained 60%
minimum in the aggregate mark of the PS module, and have successfully submitted a plan for professional and
artistic development for Part 2.

16.3 Award regulations

Interim awards

Graduate Certificate
A student who, at the end of the Graduate Certificate Year, successfully passes the following modules for a total
of 110 credits:
• GC Principal Study (90 credits)
• Reflective Practice (GC) (20 credits)
and ceases his/her studies, is considered for the award of Graduate Certificate [Grad Cert] in Music. The result
is the overall aggregate of the module marks weighted according to their credit value. The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 40%

PGDip
A student who, at the end of Part 1, successfully passes the following modules for a total of 140 credits:
• Principal Study (120 credits)
• Reflective Practice (20 credits)
and ceases his/her studies, is considered for the award of Postgraduate Diploma [PGDip] in Music. The result
is the overall aggregate of the module marks weighted according to their credit value. The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%

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Final Awards

MMus
A student who, at the end of Part 1,
i) completes and passes the following modules for a total of 180 credits:
• Principal Study (120 credits)
• Reflective Practice (20 credits)
• Electives (40 credits in total), and
ii) for the Opera specialism only, has passed the additional 60 credits of the Performance Practice module
credits,
and
iii) ceases their studies,
is considered for the award of Master of Music [MMus]. The result is the overall aggregate of the module marks
weighted according to their credit value (excluding the Performance Practice credits). The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%

MPerf, MComp
A student who, at the end of Part 2, completes and passes the following modules for a total of 180 credits:
• Performance Portfolio (150 credits)
• Critique of Personal Development (30 credits)
and has achieved all 180 credits of Part 1, will be considered for one of the following awards:
Master of Performance [MPerf (Guildhall Artist)] or
Master of Composition [MComp (Guildhall Artist)]
The result is the overall aggregate of the module marks weighted according to their credit value. The
classification shall be determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%

Concert Recital Diploma (CRD) and starred award for exceptional performance in a specified assessment

Final year Performance students [MMus, or MPerf] achieving 80% or more in their Performance B (for MMus)
or Performance A (for MPerf) will be eligible for the Concert Recital Diploma. Final year Repetiteur students
{MMus or MPerf] will receive a starred award for achievement of 80% or more in Performance B (for MMus) or
Performance A (for MPerf). Final year Composition students [BMus (Hons), MMus or MComp] will receive a
starred award for achievement of 80% or more in their composition portfolio.
A student can only get one Concert Recital Diploma / starred award for the Guildhall Artist Masters
programme; if a student achieves a CRD in Part 1 they will not be eligible in Part 2. No CRDs for other exit
qualifications.

16.4 Resit charges


There is a charge for each module or module component that needs to be retaken. These charges are given in full
in the Guildhall Artist Programme Handbook at the beginning of each academic year. For more details, see also
Academic Regulatory Framework (3.10).

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16.5 Failure of a year and the award of a lower level qualification
Where a student fails to meet the requirements for a particular year/part, having exhausted all re-sit
opportunities at module component or module level, but satisfies the requirements for an interim award (Grad
Cert, or PGDip for Part 1) or of the preceding part (Part 1 for Part 2), the student may be considered by the School
Board of Examiners for an interim or lower level qualification.

16.6 Fail Withdraw


Where a student fails to meet the requirements for a particular year/part and is not eligible for the award of an
interim/previous part/year qualification, the School Assessment Board will require the student to withdraw
from the programme.

16.7 Periods of registration


The minimum and maximum periods for consideration for an award listed in 16.3 is as follows:

MPerf & MComp Min. period: 2 years FT* Max. 4 years (5 years extended prog)
MMus Min. period: 1 year FT* Max. 3 years (4 years extended prog)
PGDip Min. period: 1 year FT* Max. 2 years (3 years extended prog)
Graduate Certificate Min. period: 1 year FT Max. 2 years

The maximum period of study will include any repeat year and/or periods of deferral or interruption.
* The minimum period may be reduced where a student has transferred from a relevant programme offered by another
higher education institution, see Academic Regulatory Framework (2; 3.2.1).

16.8 Parts of the programme and mode of attendance


Part 1 of the Programme (leading to MMus and PGDip awards) is delivered on a one year full-time or two years
part-time basis, with the exception of the Opera Specialism which is two-years FT only.

Where applicable, a student may apply to change from full-time to part-time status at any point up until the 25
November in the autumn term. Transfer after this date, and up to the end of the second term, will only be
permitted for exceptional professional/academic reasons supported by written statements from the Head of
Principal Study Department, obtained by the students themselves.

The Graduate Certificate year and Part 2 are available only on a one-year full-time basis

16.9 Scheduling of Assessment


The overall assessment schedule for all modules is published in the Guildhall Artist Programme Handbook and
available on-line to students at the beginning of the academic year. Students are also given the complete schedule
of their individual assessments for the year by the middle of term 1.

The only exception to this is two of the three PS assessment projects in Part 2, which are devised and scheduled by
students themselves according to a specific process supervised by the School (see 16.14)

16.10 General Assessment Principles


i) All assessment requirements and guidelines are included in the module specifications or in the
Programme and departmental handbooks.
ii) A student may not count a formal assessment for more than one module or module component
during the full duration of the Programme. This applies to both pieces and written assignments. See
Academic Regulatory Framework (3.8.4). This normally applies to an internal student continuing

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from BMus to the Guildhall Artist Masters, but exceptions in PS are possible for artistic, professional
and developmental reasons, and cleared by the Head of Department.
iii) Reasonable adjustments in the assessment arrangements are made by the School in the case of
students with disabilities. In these cases, considered on an individual basis, the Music Department
liaises closely with the Student Affairs Department.
iv) In certain situations, mostly to do with medical or professional extenuating circumstances, the Music
Department and the student affected agree on a Special Scheme of Study that is approved by the
Academic Board. This scheme sets out how the necessary Learning Outcomes are met and assessed.

16.11 General assessment regulations for recitals and submissions


i) Length of recitals. Specific time requirements are indicated for each Principal Study final recital in
departmental handbooks, they normally are taken from when the student first plays (including tuning)
to when the applause for the final piece begins. The following penalties apply if recitals are either too
long or too short:
1) A recital more than 5 minutes short of the minimum requirement is penalised by 1 mark per
minute starting at 6 marks for 6 minutes short.
2) A recital that exceeds the maximum time by 5 minutes is penalised by 5 marks, and may be
terminated at the discretion of the panel chair.
ii) Specific length requirements (as minimum and maximum word-counts) are indicated for each written
submission in the programme or departmental handbooks; 1 point is deducted for every 100 words
under or over the specified word limit.
iii) All written submissions must be presented with:
1) a cover sheet that includes factual information on the assignment (module and/or module
component title, student’s name, tutor’s name, assignment title and word count) and the
following statement:
“I certify that the coursework that I have submitted is my own unaided work, and that I have read,
understood and complied with the guidelines on plagiarism as set out in the programme handbook. I
understand that the School may make use of plagiarism detection software and that my work may
therefore be stored on a database which is accessible to other users of the same software. I certify that the
word count declared is correct.”
2) Standard academic protocols for citation, footnotes and bibliographies (see Taught Programme’s
Referencing Guide for details).
iv) Any suspected academic misconduct (e.g. plagiarism, collusion) will be considered under the School’s
academic misconduct procedures, see Academic Regulatory Framework (3.11).

16.13 Assessment Procedures


i) In practical examinations, including Principal Study, chamber music, interviews and lecture recitals, the
examining panel includes at least two members of staff, of which at least one is from the Department in
charge of the module. In the case of chamber music, the panel evaluates student performance alongside
any other student input according to the specific assessment format of the module.
ii) In GC and Part 1 Final Recital, the panel includes a senior member of the Music Division (normally as
chair), a senior member of the Principal Study department and an External Assessor specialist in the

Guildhall Artist Masters Gold Copy 2018/19 Page 19 of 129


Principal Study.
iii) Part 2 Principal Study assessments adhere to the following structure:
• Students need to complete three PS projects.
• These are categorized as:
Project A is set by the School and is comparable to a final recital/submission in scope and focus and
assessment structure (see above)
Project B is organized by the student (or, in some circumstances, proposed by the School), and can be
either in a School venue or external, including abroad
Project C is organized by the student and must be in an outside venue, including abroad.
The scope of projects B and C ranges considerably to include artistic and professional set ups relevant
to each pathway. In the relevant handbooks there are suggestions on what these might be.
• By the end of the autumn term, students submit for the School’s approval their proposed
programmes/contents (all projects) and venues (projects B and C); these can be submitted as work in
progress.
• The three projects must be normally completed by August of the academic year to give time to the
assessment and moderation processes to be finalized.
iv) Part 2 Projects B and C are assessed by one (or more) internal or external assessor(s) proposed by the
student and approved by the School. The student must also arrange the recording (audio or video) for
moderation purposes.
• The appointment of an assessor for projects B and C will be as follows. The student approaches
informally the assessor(s) and submits to the School the assessor’s CV that will need to demonstrate
considerable professional/pedagogical experience at international level. The School approves/rejects
the proposal (this is normally done by the Head of Department and Head of Music Programmes in
consultation). The approved assessor is then contacted by the School (normally the Music Office) for
confirmation of appointment, for supplying the assessment requirements, reports and criteria, for
receiving back the report and for paying the assessment fee.
v) Moderation of the recordings is undertaken by a senior member of the PS department, or of the Music
Department, for all projects marked by one assessor only, whether external or internal.
vi) In the case of written assessments, after the first marking, a number of submissions may be selected for
moderation according to marking categories, the nature of the assignment and the module and HE level.
These are internally moderated by a member of staff or by a moderating panel.
In each case, the final result is decided in consultation with the first marker and the internal moderator
or moderating panel.
vii) The evaluation of assessment tasks is calibrated by a set of five assessment criteria which are linked to
specific types of learning ‘product’. Learning assessed through performance (e.g. performance pathway),
through composition (composition pathway), through reflection on personal and professional
experiences (e.g. core modules of Reflective Practice Part1 and Critique of Personal Development Part2),
through academic-type research (e.g. Electives), through completion of artistic/creative tasks (e,g,
Electives). Any part of the curriculum assessed at level 6 (e.g. PS of the Graduate Certificate) adopts the
relevant BMus criteria.
viii) Pass/Fail elements of the curriculum are assessed using the same criteria both in terms of the pass/fail

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threshold and in terms of the language used in the feedback. Some pass/fail elements are based on
achieving a certain rate of success in practical tasks. These are detailed in the syllabus of each relevant
element of the curriculum (e.g. Performance Practice modules for Opera students).

16.14 Feedback to students after assessments


i) The School endeavours to provide students with written formative and summative feedback within a
reasonable time scale after the assessment and moderation tasks are completed. This applies to both
practical exams and written submission. Normally, practical exam reports (e.g. performance exams) are
individually communicated within a few days of the assessment event. Written work reports take longer
because of the various processes that need to take place: marking, moderation and external scrutiny.
Formative feedback on draft versions of written work that directly contributes to the student’s learning
and to the improvement of submissions is given regularly orally and sometimes in written format.
Summative final written feedback and assessment reports are normally available to students after the
equivalent of six term weeks from the submission.
ii) Results in the form of grades that a student may receive during the year will be provisional until they
have been agreed by the relevant School Board of Examiners and the Pass List has been signed the Head
of Registry Services (or successor). The Music Programme Assessment Board considers marks and re-sit
provisions on an interim basis for module components taken during the academic year (e.g. PS mid-year
exams) that, for learning reasons, if failed may need to be re-sat before the end-of-year exam can be
taken.

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Page 22 of 129 Guildhall Artist Masters Gold Copy 2018/19
Guildhall School of Music & Drama
Guildhall Artist Masters
Principal Study modules

Guildhall Artist Masters Gold Copy 2018/19 Page 23 of 129


Graduate Certificate: Principal
1. Module Title
Study in Performance
2. FHEQ level 6

3. Credit Value 90
4. SITS module code PER4003N
5. Location of Delivery Guildhall School
6. Applicable in the year of
Grad Cert Year only
study
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments

9. Aims of the Module


This module is at the centre of teaching and learning of the Graduate Certificate Year of the
Performance Pathway of the Extended Guildhall Artist Programme. It is aimed at students who are
not yet at the required level for Part 1 Principal Study module but have the potential of reaching that
level by the end of the academic year.
It can be taken in one of the following professional specialisms: Advanced Instrumental Studies,
Vocal Studies, Chamber Music, Piano Accompaniment, Jazz and Historical Performance Practice. It
is run by the relevant principal study department.
This module aims to:
• Develop students’ technical and artistic capacity for performance in individual and/or ensemble
contexts appropriate to their specialisms, at the FHEQ level required to access Part 1 of the
programme.
• Equip students with appropriate expertise which can be used in appropriate contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of changing
professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs so that they can
feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation to
audiences and performance partners.

10. Teaching & Assessment Methodology


This module consists of one-to-one lessons, coaching, masterclasses and other departmental activities
for the development of the students’ technical preparation, repertoire and stylistic knowledge,
artistic insight and individual imagination. Students are also involved in solo and ensemble
experiential learning opportunities, usually through intensive projects.
There are four assessment components:
• Two solo exams: Mid-Year and End-of-Year.
• Two further assessment tasks relevant to specialisms and needs of individual students. These
are selected, in negotiation with the principal study professor and the Head of Department,
among BMus 3 and 4 principal study assessment components and/or for singers, assessed
Vocal Studies projects. Classes other than PS based (e.g. electives) can also be used if appropriate.

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The teaching and assessment patterns, and the repertoire/ technical requirement are specific to each
principal study and to the above mentioned specialisms, and are included in detail in the relevant PS
handbooks.

Informal formative feedback is provided verbally by the principal study professor, and also on
platform performances by other departmental professorial staff.

11. Learning outcomes: please refer to the Programme Specification


A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours (average) *

One- to –one class 45


Practical classes 62
Supervised time in studio/workshop/productions/rehearsals
125
(ensembles)
* Exact hours vary by principal study specialism - see page 130

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills Mid-Year solo exam (length
KPE 20 40
assessment varies according to PS)
Practical skills End-of-Year solo exam
KPE 60 40
assessment (length varies according to PS)
Individual set performance
Set exercise KPE 10 40
exercises or other
Individual set performance
Set exercise KPE 10 40
exercises or other

c) Independent Study hours Notional Hours


Personal practice/study 668
d) Total student learning hours for module 900

13. Reading & Resources


Principal Study professors advise repertoire in the Principal Study area to students individually.
Principal Study teachers and chamber music coaches also advise ensemble repertoire to ensembles.
Scores and recordings for most standard repertoire works and many lesser-known works are located
in the Guildhall School Library. Students are encouraged to use Urtext scores whenever possible.

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Principal Study in Performance
1. Module Title
(Part 1)
2. FHEQ level 7

3. Credit Value 120


4. SITS module code PER4004
5. Location of Delivery Guildhall School
6. Applicable in the year of
Year 1
study
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments

9. Aims of the Module


This module is at the centre of teaching and learning of Part 1 of the Performance Pathway of the
Guildhall Artist Programme. For students on the Extended Guildhall Artist Programme, the
prerequisite for this module is 60% minimum in the aggregate mark for the GC Principal Study in
Performance module.
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal Studies,
Opera Studies, Chamber Music, Piano Accompaniment, Jazz and Historical Performance Practice. It
is run by the relevant principal study department.
This module aims to:
• Develop students’ technical and artistic capacity for performance at professional level, in
individual and/or ensemble contexts appropriate to their specialisms.
• Equip students with appropriate expertise to be used in a broad range of imminent professional
contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of changing
professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs, so that they can
feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation to
audiences and performance partners.

10. Teaching & Assessment Methodology


It consists of one-to-one lessons, coaching, masterclasses and other activities for the development
of the students’ technical preparation, repertoire and stylistic knowledge, artistic insight and
individual imagination. Students are also involved in solo and ensemble experiential learning
opportunities, usually through intensive projects.
The assessment consists of a mid-year and end-of-year exam.
The teaching and assessment patterns, and the repertoire/technical requirements are specific to
each principal study and to the above-mentioned specialisms and are included in detail in the
relevant PS handbooks.
Informal formative feedback is provided verbally by the principal study professor, and also on
platform performances by other departmental professorial staff.

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11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours (average) *
One- to –one class/tutorial 47
Practical classes/workshops 125
Supervised time in studio/workshop/productions/rehearsals 175
* Exact hours vary by principal study specialism - see page 130

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills Mid-Year Assessment (length
KPE 30 50
assessment varies according to PS)
Practical skills End of Year Assessment
KPE 70 50
assessment (length varies according to PS)

c) Independent Study hours Notional Hours


Personal practice/study 853
d) Total student learning hours for module 1200

13. Reading & Resources


Principal Study professors advise repertoire in the Principal Study area to students individually.
Principal Study teachers and chamber music coaches also advise ensemble repertoire to ensembles.
Scores and recordings for most standard repertoire works and many lesser-known works are
located in the Guildhall School Library. Students are encouraged to use Urtext scores whenever
possible.

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Module Title Performance Portfolio (Part 2)
2. FHEQ level 7

3. Credit Value 150


4. SITS module code PER4005N
5. Location of Delivery Internal and External
6. Applicable in the year of study Year 2
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments

9. Aims of the Module


This module is at the centre of teaching and learning of Part 2 of the Performance Pathway of the
Guildhall Artist Programme. Prerequisites for this module are:
• a minimum final aggregate of 60% in Principal Study in Performance (Part 1).
• submission by the end of the Spring Term of Part 1 of a successful plan of artistic and
professional development for Part 2.

It includes the following professional specialisms: Advanced Instrumental Studies, Vocal Studies,
Opera Studies (including Repetiteur), Chamber Music, Piano Accompaniment, Jazz and Historical
Performance Practice. It is run by the relevant principal study department.
This module aims to:
• Develop the students to their highest individual level of technical abilities, interpretative insight
and artistic vision.
• Develop in students a comprehensive understanding of, and demonstrable capacity for, the
preparation and performance of material relevant to their specialisms and to professional
performance contexts.
• Assist students to be innovative and intensely self-challenging within their field of expertise.
• Support students in developing self-direction in tackling and solving performance related
challenges.
• Support students in planning and implementing projects, either through independent action or
as an autonomous member of an appropriate project team or ensemble.

10. Teaching & Assessment Methodology


This module consists of one-to-one lessons, coaching, masterclasses and other activities for the
development of the students’ technical preparation, repertoire and stylistic knowledge, artistic
insight and individual imagination. Students may, if agreed with their principal study head of
department, attend a range of departmentally based classes. Students are also involved in solo and
ensemble experiential learning opportunities, usually through intensive projects.
The assessment of the module consists of three components:
• Performance A (55-65 minutes' performance duration for AIS; 45-60 minutes' performance
duration for students on the vocal training course; for wind, brass and percussion, a programme
of 45-60 minutes duration, containing not less than 35 minutes of music). For all students, the
inclusion of a short interval is at the discretion of the student, and will be included in the overall
performance time.

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• Performance B (20 minutes minimum), a performance organised by the student (or, in some
circumstances, proposed by the School), and that can be either in a School venue or external,
including abroad.
• Performance C (20 minutes minimum), a performance organised by the student and that must be
in an outside venue, including abroad.

While Performance A is comparable to a final recital or an operatic role for opera students, the scope
of projects B and C ranges considerably to include artistic and professional situations relevant to each
specialism, for instance concerto performances, chamber music or leading role in orchestra (first
parts; not applicable to WBP)., opera scenes. These are clearly defined in the PS relevant handbooks.

By the end of the Autumn Term, students submit a proposal for the three performance projects for
assessment. The proposal must be supported by a short statement (approximately 500 words) to
describe and justify the artistic and professional nature of these performances in relation to the
students’ own development and aims. No repertoire can be repeated as part of the assessment
package, including pieces assessed in the Graduate Certificate year or in the Masters Part 1. The
proposal is evaluated and approved by the Head of Department and the Head of Music Programmes
in consultation.
• Performance A is assessed by a panel set up by the School.
• Performances B and C are assessed by one (or more) internal or external assessor(s) proposed by
the student and approved by the School. The student must also arrange the recording (audio or
preferably video) for moderation/double marking purposes.

The appointment of an assessor for performances B and C is as follows. The student approaches
informally the assessor(s) and submits to the School his/her CV that needs to demonstrate
considerable professional/pedagogical experience at international level. The School approves/rejects
the proposal (this is normally done by the Head of Department and Head of Music Programmes in
consultation). The approved assessor is then contacted by the School (normally the Music Office) for
confirmation of appointment, for supplying the assessment requirements, reports and criteria, for
receiving back the report and for paying the assessment fee.
Informal formative feedback is provided verbally by the principal study professor, and also on
platform performances by other departmental professorial staff.

11. Learning outcomes: refer to the Programme Specification:


A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours (average)*
One- to –one class/tutorial 45
Practical classes/workshops 187
* Exact hours vary by principal study specialism - see page 130

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b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills Performance A (length varies
KPE 40 50
assessment according to PS)
Practical skills Performance B (min 20
KPE 30 50
assessment minutes)
Practical skills Performance C (min 20
KPE 30 50
assessment minutes)
c) Independent Study hours Notional Hours
Personal practice/study 1268
d) Total student learning hours for module 1500

13. Reading & Resources


The individualised nature of study within this module means that students will be pursuing specific
material themselves in association with their Principal Study teachers and heads of departments. The
library holds an appropriately wide range of audio and audio-visual resources as well as a
comprehensive range of scores and reference literature.

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1. Module Title
Principal Study in Orchestral
Artistry (Part 1 and Part 2)
Delivered in association with the London Symphony Orchestra

2. FHEQ level 7

Part 1 120
3. Credit Value
Part 2 150
Part 1 ORC4005
4. SITS module code
Part 2 ORC4006
5. Location of Delivery Guildhall School
6. Applicable in the year of study Years 1 and 2
7. Module Leader Director of Music
8. Department Strings and WBP

9. Aims of the Module


The Orchestral Artistry specialisation is available for Violin, Viola, Cello, Double Bass, Harp, Flute,
Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Tuba, Timpani and Percussion.
The module can only be taken full time, both in Part 1 and in Part 2.
Admission to the module in Part 1 consists in fulfilling the general process of admission into the
Guildhall Artist Programme including, where appropriate, progression from the Graduate
Certificate year.
Progression from the Graduate Certificate will not, however, guarantee automatic access to the
module. In this case, the Graduate Certificate year Final Recital may also be used as the audition, or a
separate audition may be arranged prior to the commencement of the module.
Progression to the module Part 2 is subject to the general Guildhall Artist conditions:
• Successful completion of all assessment tasks of Part 1;
• Achievement, in the Principal Study assessments of Part 1, of a 60% minimum in the final
aggregate;
• Submission by the end of the Spring Term of Part 1 of a successful plan of artistic and
professional development for Part 2.

This module aims to:

• Provide the technical skills to deliver high levels of performance as an orchestral and ensemble
player.
• Promote a deep understanding through practical experience of the professional landscape that
students are about to enter and an appropriate level of knowledge and skill to excel within it.
• Develop a clear understanding of how to communicate through music at emotional, intellectual,
verbal, and virtual levels, to both specialist and non-specialist audiences and to articulate musical
processes and experiences in a manner which demonstrates self-awareness and research capacity.
• Encourage a strong personal and ethical code of conduct.
• Establish a process of continuing refinement of personal and artistic development, integrating a
high level of physical fitness and mental preparedness underpinned by knowledge of the
psychological and physiological aspects of the profession.

Guildhall Artist Masters Gold Copy 2018/19 Page 31 of 129


• Foster a sense of enquiry towards one’s life and the ability to learn for oneself with clear career
objectives and the ambition, confidence and drive to achieve them.
st
• Advance an entrepreneurial skills base that reflects the needs of the 21 Century professional
musician including knowledge and experience of pedagogy and community education work,
specialist or additional knowledge in both advanced techniques for new music and historically
informed interpretation, planning and promotion of concerts and educational work.

10. Teaching & Assessment Methodology


The module is delivered in association with the London Symphony Orchestra. In addition, members
of the Barbican International Associates (Concertgebouw, Leipzig Gewandhaus Orchestra, Los
Angeles Philharmonic and New York Philharmonic Orchestra) deliver a number of masterclasses as
part of their residences. There are also opportunities for one-off projects with their artistic directors.

OA students have opportunities to take part in chamber orchestra repertoire sessions, side-by-side
with LSO players, as well as Guildhall instrumental ensembles, and Guildhall Symphony Orchestra
and Opera projects, alongside students from other Guildhall courses.

The content is divided into three main areas of learning; the first two are assessed in Parts 1 and 2,
the third is assessed in projects B and C of Part 2:

1. Principal Study – one to one tuition by Guildhall professors and those LSO players on the
Guildhall staff, masterclasses from LSO players and LSO international soloists. Over the
course of two years every student receives a minimum of one audition per year with a panel
of LSO players, which may be filmed, with immediate verbal feedback.
2. Chamber & Orchestral ensemble training – classes and sectionals delivered by both
LSO players and Guildhall professors. It includes:
 Repertoire training, covering a selection from the core symphonic and large chamber
repertoire.
 Sight reading training.
 Ensemble training – orchestral technique and professional orchestra code of conduct.
3. Leadership, Entrepreneurial and Communication Skills - artistic as well as
pedagogical and educational leadership skills, within the context of Creative Learning and
LSO/LSO Discovery projects. This includes:
 Leadership training for curating, planning, promoting and delivering concert and
education work.
 Principal training, including group conducting lessons.
 Education and outreach delivery, in contexts including Junior Guildhall and the Centre
for Young Musicians. Two forms of training are offered: Instrumental coaching and
Workshop leadership. Within both forms, students shadow/observe and participate
alongside LSO players (and others) in Part 1, and then deepen their experience of hands-
on leadership/ teaching in Part 2.

Students are also given the opportunity, where appropriate, to play in LSO schools and family
concerts, and in conducting masterclass series, and to sit onstage in LSO rehearsals. LSO players also

Page 32 of 129 Guildhall Artist Masters Gold Copy 2018/19


play side by side in student rehearsals or public workshops.
The assessment follows the pattern of the Guildhall Artist Programme.
Part 1 consists of two exams, Assessment A and Assessment B. These are both orchestral auditions.
Part 2 consists of three projects, as in the general Performance Principal Study module,
but with the following specific requirements:
o Project A is an orchestral audition;
o Project B (20 minutes minimum), a performance organised by the student (or, in some
circumstances, proposed by the School), and that can be either in a School venue or external,
including abroad.
o Project C (20 minutes minimum), a performance organised by the student and that must be
in an outside venue, including abroad.
Possibilities for Projects B and C include solo recitals, Chamber music, leading part in orchestral
concerts (for C only external concerts).
Formative Assessment, in addition to that available normally with exam and platform reports, also
includes verbal feedback from LSO players.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern (Parts 1 and 2)


a) Scheduled Teaching & Learning hours
Type Total contact hours for each Part
One-to–one lessons 48*
Practical classes
Orchestral sectionals 63
Orchestral Concerts 6 (3 concerts in total)
LSO & International Artists Masterclasses 6 + 12
Classes (repertoire, sight reading) 60
Coaching 14
Mastering auditions 20 mins
Supervised time in studio/workshop/ 12 (part 1)
productions/rehearsals 24 (part 2)
* Exact hours vary by principal study specialism - see page 130

b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Part 1
Assessment A: Orchestral
Practical skills
audition (WBP 25 mins; Strings KPE 30 50
assessment
30 mins)
Assessment B: Orchestral
Practical skills
audition (WBP 30 mins; Strings KPE 70 50
assessment
40 mins)

Guildhall Artist Masters Gold Copy 2018/19 Page 33 of 129


Part 2
Practical skills Project A: Orchestral audition
KPE 40 50
assessment (WBP 30 mins; Strings 40 mins)
Practical skills Project B: Performance
KPE 30 50
assessment (minimum 20 mins)
Practical skills Project C: Performance
KPE 30 50
assessment (minimum 20 mins)

c) Independent Study hours Notional Hours


Personal practice/study (Part 1) 979
Personal practice/study (Part 2) 1267
d) Total student learning hours for module (Part 1) 1200
(Part 2) 1500

13. Reading & Resources


Repertoire in use in orchestral projects and for orchestral auditions is defined according to the
instrument and usually include a range of repertoire from the Classical period through to the
present.

Page 34 of 129 Guildhall Artist Masters Gold Copy 2018/19


Graduate Certificate:
1. Module Title
Principal Study in Composition
2. FHEQ level 6

3. Credit Value 90
4. SITS module code COM4033
5. Location of Delivery Guildhall School of Music & Drama
6. Applicable in the year of study Grad Cert Year only
7. Module Leader Associate Head of Composition (PG)
8. Department Composition

9. Aims of the Module


This module is at the centre of teaching and learning in Composition of the Graduate Certificate
Year of the Guildhall Artist Programme. It is aimed at students who are not yet at the required
level for Part 1 Principal Study module but have the potential of reaching that level by the end of
the academic year.
This module aims to:
• Develop students’ technical and artistic capacity for composition at FHEQ level required to
access Part 1 of the programme, in both original composition and a range of supporting
subjects.
• Equip students with appropriate expertise which can be used in professional contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of changing
professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs so that they
can feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation to
performers and audiences.

10. Teaching & Assessment Methodology


It consists of one-to-one lessons, workshops and classes in relevant supporting subjects, including
Historical Techniques of Composition, Electronic Music/Music Technology and Analysis, and
other departmental activities necessary for the development of the students’ technical preparation,
repertoire and stylistic knowledge, artistic insight and individual imagination.

There are four assessment components.


• Two folios of Original Composition: at Mid-Year and End-of-Year to include written
commentaries of 100 words per minute of music.
• Two folios of supporting material in Historical Techniques, Electronic Music and Analysis.
The precise content of these is selected according to individual students’ needs, in negotiation
with the principal study professor and the Head of Department, from among BMus 3 and 4
principal study assessment components, described in detail in the relevant handbook.

Informal formative feedback is provided by the principal study professor and with feedback in
workshops.

Guildhall Artist Masters Gold Copy 2018/19 Page 35 of 129


11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
One- to –one class/tutorial 30
Practical classes/workshops 82

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Mid-Year Original
Portfolio KCW 20* 40
Composition folio
Portfolio Mid-Year Supporting Studies
KCW 20 40
folio
Portfolio End-of-Year Original
KCW 40* 40
Composition folio
Portfolio End-of-Year Supporting
KCW 20 40
Studies folio
*weighting subdivided Compositions 95% and Commentaries 5%

c) Independent Study hours Notional Hours


Personal practice/study 788
d) Total student learning hours for module 900

13. Reading & Resources


Principal Study teachers advise repertoire in the Principal Study area to students individually.
Classes use texts relevant to the subjects studied, as outlined in the Composition Department
Handbook. The Library has a seminar room with 6 work stations specifically for composers.

Title Author Publisher Year


Thesaurus of Scales and Melodic Slonimsky, N Music Sales 1999
Patterns
Counterpoint Piston, DeVoto Gollancz 1949
Theory of Harmony Schoenberg, A Faber 1978
(1922)
Fundamentals of Musical Composition Schoenberg, A Faber 1970
A Guide to Musical Analysis Cook, N Oxford University Press 1987
The Study of Orchestration Adler, Samuel Norton 1989
Essentials of Music Copying Homewood, Music Publishers’ 1990
Matthews Association
Electronic and Computer Music Manning, P Oxford University Press 2003
Basic MIDI White, P Faber Paperbacks 2000

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Title Author Publisher Year
Experimental Music Cage and Beyond Michael Nyman Cambridge University 1974
Press
Audio Culture: Readings in Modern Cox & Warner (ed.) Continuum 2004
Music
Silence Cage, John Marion Boyars 1968
A Very Short Introduction to Music Cook, N Oxford University Press 1998
Introduction to Post-Tonal Theory Joseph N. Straus Pearson Prentice Hall 2004
Stravinsky's Late Music Joseph N. Straus Cambridge University 2001
Press
Stocktakings from an Apprenticeship Pierre Boulez OUP 1991

Music Notation Gardener Read Crescendo 1979


Behind Bars Elaine Gould

Ashgate Companion to ed. James Saunders


Experimental Music

Guildhall Artist Masters Gold Copy 2018/19 Page 37 of 129


Principal Study in Composition
1. Module Title
(Part 1)
2. FHEQ level 7

3. Credit Value 120


4. SITS module code COM4034
5. Location of Delivery Guildhall School
6. Applicable in the year of
Part 1 only
study
7. Module Leader Associate Head of Composition (PG)
8. Department Composition

9. Aims of the Module


This module is at the centre of teaching and learning in composition in Part 1 of the Guildhall Artist
Programme. For students on the Extended Guildhall Artist Programme, the prerequisite for this
module is achievement of 60% minimum in the aggregate mark of the GC Principal Study in
Composition module.
This module aims to:
• Develop students’ technical and artistic capacity for composition at professional level in a range
of artistic settings.
• Equip students with appropriate expertise to be used in a broad range of imminent professional
contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of changing
professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs, so that they can
feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation to
collaborators, performers and audiences.

10. Teaching & Assessment Methodology


This module consists of one-to-one lessons, seminars, workshops, masterclasses and other activities
for the development of the students’ technical facility, repertoire knowledge, artistic insight and
individual imagination. Students are also involved in collaborative experiential learning
opportunities, usually by intensive projects.

The assessment method consists of a folio of five contrasting works created during the year, at least
three of which have been composed in response to school-based commissions, the folio to include
written commentaries (100 word per minute of music), and a viva voce with a panel that includes
the External Examiner and an internal member of staff, to be held towards the end of the period of
registration.

Informal formative assessment is provided by the principal study professor through oral feedback
and feedback from workshops.

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11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Seminar 60
One- to –one class/tutorial 30
Practical classes/workshops 15

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Composition Folio (five
Portfolio KCW 90 50
contrasting pieces)
Written Commentaries (100
Portfolio KCW 5 50
words per minute)
Oral assessment End-of-Year Viva KPE 5 50

c) Independent Study hours Notional Hours


Personal practice/study 1066
Self-directed group rehearsal/study 29
d) Total student learning hours for module 1200

13. Reading & Resources


Principal Study teachers and visiting seminar leaders advise students on a variety of suitable
resources, depending on the relevant commission or research topic. These can range from texts on
aspects of compositional technique to recordings and scores of exemplar works relevant to the
commission being undertaken. The Library has a seminar room with 6 work stations specifically for
composers.

Title Author Publisher Year


Thesaurus of Scales and Melodic Slonimsky, N Music Sales 1999
Patterns
Counterpoint Piston, DeVoto Gollancz 1949

Theory of Harmony Schoenberg, A Faber 1978


(1922)
Fundamentals of Musical Composition Schoenberg, A Faber 1970
The Study of Orchestration Adler, Samuel Norton 1989
Essentials of Music Copying Homewood, Music Publishers’ 1990
Matthews Association
Electronic and Computer Music Manning, P Oxford University Press 2003
Basic MIDI White, P Faber Paperbacks 2000

Guildhall Artist Masters Gold Copy 2018/19 Page 39 of 129


Title Author Publisher Year
Experimental Music Cage and Beyond Michael Nyman Cambridge University 1974
Press
Audio Culture: Readings in Modern Cox & Warner (ed.) Continuum 2004
Music
Silence Cage, John Marion Boyars 1968
A Very Short Introduction to Music Cook, N Oxford University 1998
Press
Introduction to Post-Tonal Theory Joseph N. Straus Pearson Prentice Hall 2004
Stravinsky's Late Music Joseph N. Straus Cambridge University 2001
Press
Stocktakings from an Apprenticeship Pierre Boulez OUP 1991
Music Notation Gardener Read Crescendo 1979
Behind Bars Elaine Gould

Ashgate Companion to Experimental ed. James Saunders


Music

Page 40 of 129 Guildhall Artist Masters Gold Copy 2018/19


1. Module Title Composition Portfolio (Part 2)
2. FHEQ level 7

3. Credit Value 150


4. SITS module code COM4035
5. Location of Delivery Internal and External
6. Applicable in the year of study Part 2 only
7. Module Leader Associate Head of Composition (PG)
8. Department Composition

9. Aims of the Module


This module is at the centre of teaching and learning in composition of Part 2 of the Guildhall Artist
Programme. Prerequisites for this module are:
• a minimum final aggregate of 60% in the Principal Study in Composition (Part 1).
• submission by the end of the Spring Term of Part 1 of a successful plan of artistic and
professional development for Part 2, and interview.

This module aims to:


• Develop the students to their highest individual level of creative ability and artistic vision.
• Encourage to question the boundaries of music practice and to understand the implications of
the multi-disciplinary nature of music for contemporary creation, innovation and research.
• Develop in students a comprehensive understanding of, and demonstrable capacity for, the
development of material which fulfils their artistic and aesthetic aims, in professional
performance contexts.
• Assist students to be innovative and intensely self-challenging in the development of creative
platforms for the presentation of their work
• Support students in developing self-direction in tackling and solving challenges relating to the
performance and presentation of their work
• Support students in planning and implementing projects, either through independent action or
as an autonomous member of an appropriate project team.
• Develop in the students the ability to communicate clearly and effectively to both specialist and
non-specialist collaborators, performance partners and audiences.

10. Teaching & Assessment Methodology


This module consists of one-to-one lessons, seminars, workshops and other activities for the
development of the students’ technical facility, repertoire knowledge, artistic insight, individual
creative imagination and capacity for experiment and innovation through creative collaboration.

The assessment of the module consists of three principal components, that combine the following
requirements:
• One item should be generated by an internal Guildhall School performance opportunity.
• One item should be an external opportunity generated by the student, in consultation with
departmental staff, which may draw on one the School’s external partners.
• One item should be in some sense collaborative and may involve collaboration with an artist or

Guildhall Artist Masters Gold Copy 2018/19 Page 41 of 129


artists from other disciplines
• One item should be performed in the context of a creative platform event, devised and curated
by the student in consultation with departmental staff. The platform opportunity might involve
contributions from other Guildhall students (in Performance, Leadership or Composition),
students from other institutions and/or in other disciplines. The output will be assessed in terms
of its success in the context of the complete performance event.

The student is free to negotiate the precise configuration of their items for assessment using these
parameters, but the total duration of material submitted should not be less than 30 minutes. Each
item will be equally weighted (30%) within the folio.

By the end of the Autumn Term, students submit a proposal for the creative platform event. The
proposal must be supported by a short statement (approximately 1000 words) to describe and justify
the artistic and professional nature of this event in relation to the students’ own development and
aims. The proposal is evaluated and approved by the Composition Department.

Submissions must be accompanied by written commentaries (100 word per minute of music) for
each piece, a CD recording, or a DVD recording for projects involving a visual, theatrical or
choreographic element, and are assessed by a panel appointed by the School according to the
standard procedures. The item performed within the creative platform event is assessed live by an
examiner and internally moderated by a senior member of the Music Department and the External
Examiner by DVD recording.

Informal formative feedback is provided by the principal study professor with oral feedback and
feedback from workshops.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
One- to –one class/tutorial 30
Seminars 60
Practical classes/workshops 15
Supervised time in
25
studio/workshop/productions/rehearsals

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Set exercise Portfolio item 1 KCW 30 50
Set exercise Portfolio item 2 KCW 30 50
Set exercise Portfolio item 3 KCW 30 50
Written assignment Written commentaries KCW 5 50
Oral assessment Viva Voce KPE 5 50

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c) Independent Study hours Notional Hours
Personal practice/study 1100
Self-directed group rehearsal/study 270
d) Total student learning hours for module 1500

13. Reading & Resources


The individualised nature of study within this module means that students will be defining specific
resources themselves in association with their Principal Study teachers and other School staff. The
library holds an appropriately wide range of audio and audio visual resources as well as a
comprehensive range of scores and reference literature.

Title Author Publisher Year


Thesaurus of Scales and Melodic Slonimsky, N Music Sales 1999
Patterns
Counterpoint Piston, DeVoto Gollancz 1949
Theory of Harmony Schoenberg, A Faber 1978
(1922)
Fundamentals of Musical Schoenberg, A Faber 1970
Composition
A Guide to Musical Analysis Cook, N Oxford University Press 1987
The Study of Orchestration Adler, Samuel Norton 1989
Essentials of Music Copying Homewood, Matthews Music Publishers’ 1990
Association
Electronic and Computer Music Manning, P Oxford University Press 2003
Basic MIDI White, P Faber Paperbacks 2000
Experimental Music Cage and Michael Nyman Cambridge University 1974
Beyond Press
Audio Culture: Readings in Cox & Warner (ed.) Continuum 2004
Modern Music
Silence Cage, John Marion Boyars 1968
A Very Short Introduction to Cook, N Oxford University Press 1998
Music
Introduction to Post-Tonal Joseph N. Straus Pearson Prentice Hall 2004
Theory
Stravinsky's Late Music Joseph N. Straus Cambridge University 2001
Press
Stocktakings from an Pierre Boulez OUP 1991
Apprenticeship
Music Notation Gardener Read Crescendo 1979

Behind Bars Elaine Gould

Ashgate Companion to ed. James Saunders


Experimental Music

Guildhall Artist Masters Gold Copy 2018/19 Page 43 of 129


1. Module Title Performance Practice I & II
2. FHEQ level 7
30 credits in Year 1
3. Credit Value
30 credits in Year 2
Part 1, Year 1: PPO4048
4. SITS module code
Part 1, Year 2: PP04049
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Opera
8. Department Opera

9. Aims of the Module


The Performance Practice modules link to the Principal Study module for the Performance pathway
in Part 1 of the Guildhall Artist Masters programme for those students on the Opera specialism. The
classes in this module cover specific skills & techniques relating to dramatic characterisation within
the context of an operatic performance.

This module aims to:


• Develop the student’s technical and artistic capacity to physicalise a range of characters and
dramatic situations in the operatic context, through stillness, movement and transformation.
• Equip a student with the appropriate skills to be used in a broad range of imminent professional
contexts.
• Develop a student’s confidence, independence and self-reliance necessary for a life of changing
professional expectations and demands.

10. Teaching & Assessment Methodology


This module is offered on a pass/fail basis only as the classes are essentially formative, covering the
complementary skills that are later assessed holistically as part of an operatic performance within the
Principal Study module. To pass there is a minimum attendance requirement of 85%, and drama and
movement tutors will also need to confirm, by way of a written report, that the student’s conduct
and attitude has been professional.

11. Learning outcomes: please refer to the Programme Specification:


A2, C2, C6, D1, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops
Year 1 Performance practice
Drama classes 63 (7x3x3)
Movement classes 22.5 (5x1.5x3)

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Make-up classes 18 (9 x2)
Introduction to combat 3
Manual handling 2
Total 108.5 for Year 1
Year 2 Performance practice
Drama classes 34.5 [(3.5x3x3) + (1x3)]
Movement classes 24 [(5x1.5x3) + (0.5x3)]
Character realisation (make-up, wigs & costume) 10.5 [3x1.5 +12x0.5}
consultations & execution
Combat refresher 3
Total: 72 for Year 2

b) Assessment – In Year 1 and Year 2


KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Continuous assessment 85% attendance KPE n/a Pass/Fail
Professional Conduct tutor
Continuous assessment KPE n/a Pass/Fail
report
* A register of all classes is kept to monitor attendance: any student in danger of not meeting the 85%
threshold will receive a warning.

c) Independent Study hours Notional Hours


Personal practice/study in Year 1 191.5
Personal practice/study in Year 2 228
d) Total student learning hours for module in each year 300

13. Reading & Resources


Title Author Publisher Year
The singing and acting handbook Thomas de Mallet Burgess and Routledge 2000
Nicholas Skilbeck
Singing, acting, and movement Mark Ross Clark Indiana University 2002
in opera: a guide to singer-getics Press
The art of auditioning Anthony Legge Peters 2001
Care of the professional voice D Garfield Davies & Antony F Black 2004
Jahn
Stage makeup A Corson Englewood Cliffs, NJ: 1990
Prentice Hall

Guildhall Artist Masters Gold Copy 2018/19 Page 45 of 129


Page 46 of 129 Guildhall Artist Masters Gold Copy 2018/19
Guildhall School of Music & Drama
Guildhall Artist Masters
Reflective Practice modules

Guildhall Artist Masters Gold Copy 2018/19 Page 47 of 129


1. Module Title Reflective Practice (GC)
2. FHEQ Level 7
3. Credit Value 20
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Graduate Certificate
Deputy Head of Academic Studies, Academic and
7. Module Leader Artistic Integration
Senior Postgraduate Tutor (Mentoring Groups)
8. Department Academic Studies

9. Aims of the Module


The progression from an undergraduate degree to a Masters degree is marked by the increased self-
reliance of a student in preparation for a professional career. In Principal Study, this is expressed
through the production, by the student, of their three Part 2 portfolio. The Reflective Practice
modules in the Graduate Certificate, Part 1 and the Critique of Personal Development module in Part
2 support this process by introducing and developing self-reflective techniques that allow the student
to develop the resilience required of a professional musician. In particular, Reflective Practice will:
• introduce professional development issues of relevance to all postgraduate students.
• develop the students’ capacity to reflect intelligently on the nature of musical excellence and on
their own emerging professional relationship with musical performance, composition and
leadership.
• help students be open-minded in questioning the boundaries of traditional practice in relation to
self-reflection, research and professional development.
• ensure students are able to articulate and present their reflective practice in a manner which is
appropriate for diverse audiences and media.
• allow an opportunity for consideration of aspects of the students’ long term artistic professional
development.
• help students integrate their diverse experiences within the programme into a cohesive whole.

10. Teaching & Assessment Methodology


The Reflective Practice module is delivered through a combination of whole-cohort lectures,
workshops, and discussion groups lead by a tutor and spread across the year to support individual
learning. Assessment and discussion groups are closely linked to enhance formative feedback.

At the start of the year, students attend two whole-cohort lectures, to introduce them to the key
concepts of reflective practice and professional practice and well-being.

Shortly after these lectures, students gather in discussion groups to develop their first self-reflective
account, an essay that identifies objectives and suggests strategies for the coming year. Groups are
allocated by pathway and principal study and are often led by principal study professors.

Towards the end of the autumn term, students attend a whole-cohort lecture on Performing

Page 48 of 129 Guildhall Artist Masters Gold Copy 2018/19


Knowledge, exploring the relationship between tacit and explicit knowledge and musicianship.

In the final week of the autumn term, students attend a second discussion group meeting to receive
additional formative feedback on their self-reflective account and to engage in peer discussion and
support of their strategies.

The spring term consists of workshops introducing the musician as producer. Students create a project
pitch as part of these workshops and may be invited for further mentoring to develop particularly
innovative projects. Mentoring groups provide formative assessment on the students’ engagement
with the whole-cohort activities of the first and second terms. Students are also invited to attend
BMus 4 Professional Practice seminars that develop the administrative skills required by a freelance
musician.

Students who are deemed by their tutor to be not sufficiently engaged with the process, whether
through attendance and/or participation in the discussion group, will be required to attend a viva
voce with senior members of the Academic Studies and/or complete equivalent written work.

The summer term offers support as required by each group as they prepare for their summative self-
reflective account. The summative account develops ideas formulated in the autumn assessment
through an evaluation of musical and personal progress and artistic exploration, supported by
relevant secondary research.

11. Learning outcomes: please refer to the Programme Specification:


A4, A5, A6, A7, A8, B3, B4, C4, C5, C7, C8, C9, D1, D2, D3, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours in each year of study
Type Contact hours in each year of study
Lectures 9
Discussion groups 5
Individual tutorials 1

b) Assessment

KIS Assessment Type Detail KIS code % Weighting % Pass Mark

Self-reflective account (1350-


Written assignment KCW 37 50
1650 words)
Self-reflective account (2250-
Written assignment KCW 63 50
2750 words)
Project output Project pitch (1-2 pages) KCW n/a Pass/Fail
Continuous assessment Progress Report KCW n/a Pass/Fail

c) Independent Study hours Notional Hours


Personal practice/study 185
d) Total student learning hours for module in each year of study 200

Guildhall Artist Masters Gold Copy 2018/19 Page 49 of 129


13. Reading & Resources
The material will be specific to the students’ needs and pathways; the following list can be
considered as a general starting point:

Title Author Publisher Year

Artistic Practice as Research in Mine Doğantan-Dack Routledge 2015


Music: Theory, Criticism, Practice
Learning journals: a handbook for Moon, J.A. London: Routledge 2006
reflective practice and
professional development
Mentorship: the meaning of the Hays, T., Minichiello, V. and Research Studies in 2000
relationship for musicians Wright, P. Education 15, p.3-14
Musical Excellence: Strategies and Williamon, Aaron Oxford 2004
Techniques to Enhance
Performance
Music, Thought and Feeling: Thompson, William F. Oxford University Press 2009
Understanding the Psychology of
Music
Practice-led Research, Research- Smith, Hazel and Roger T Edinburgh University 2009
led Practice in the Creative Arts Dean (EDs) Press
Psychology for Musicians: Lehman, A. Sloboda, J. Oxford University Press 2007
Understanding and Acquiring the Woody, R.
Skills
The influence of deliberate Ericsson, Anders In The Cambridge 2006
practice on the development of Handbook of Expertise,
superior expert performance CUP
The Musician’s Body Rosset I Llobet J Ashgate and Guildhall 2007
Odam G School of Music & Drama
The Music Practitioner: Research Jane Davidson (Ed.) Ashgate 2004
for the Music Performer, Teacher
and Listener
The Practice of Performance: Rink, John Cambridge University 1995
Studies in Musical Interpretation Press
The Reflective Practitioner Schon, D. New York: Basic 1983
Books
Johari window http://www.noogenesis.com/game_theory/johari/johari
_window.html

Page 50 of 129 Guildhall Artist Masters Gold Copy 2018/19


1. Module Title Reflective Practice (Part 1)
2. FHEQ Level 7
3. Credit Value 20
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
Deputy Head of Academic Studies, Academic and
7. Module Leader Artistic Integration
Senior Postgraduate Tutor (Mentoring Groups)
8. Department Academic Studies

9. Aims of the Module


The progression from an undergraduate degree to a Masters degree is marked by the increased self-
reliance of a student in preparation for a professional career. In Principal Study, this is expressed
through the production, by the student, of their Part 2 portfolio. The Reflective Practice module in
Part 1 and the Critique of Personal Development module in Part 2 supports this process by
introducing and developing self-reflective techniques that allow the student to develop the resilience
required of a professional musician. In particular, Reflective Practice will:

• introduce professional development issues of relevance to all postgraduate students.


• develop the students’ capacity to reflect intelligently on the nature of musical excellence and on
their own emerging professional relationship with musical performance, composition and
leadership.
• help students be open-minded in questioning the boundaries of traditional practice in relation to
self-reflection, research and professional development.
• ensure students are able to articulate and present their reflective practice in a manner which is
appropriate for diverse audiences and media.
• allow an opportunity for consideration of aspects of the students’ long term artistic professional
development.
• help students integrate their diverse experiences within the programme into a cohesive whole. 


10. Teaching & Assessment Methodology


The Reflective Practice module is delivered through a combination of whole-cohort lectures,
workshops, and discussion groups lead by a tutor and spread across the year to support individual
learning. Assessment and discussion groups are closely linked to enhance formative feedback.

At the start of the year, students attend two whole-cohort lectures, to introduce them to the key
concepts of reflective practice and professional practice and well-being.

Shortly after these lectures, students gather in discussion groups to develop their first self-reflective
account, an essay that identifies objectives and suggests strategies for the coming year. Groups are
allocated by pathway and principal study and are often led by principal study professors.

Guildhall Artist Masters Gold Copy 2018/19 Page 51 of 129


Towards the end of the autumn term, students attend a whole-cohort lecture on Performing
Knowledge, exploring the relationship between tacit and explicit knowledge and musicianship.

In the final week of the autumn term, students attend a second discussion group meeting to receive
additional formative feedback on their self-reflective account and to engage in peer discussion and
support of their strategies.

The spring term consists of workshops introducing the musician as producer. Students create a
project pitch as part of these workshops and may be invited for further support to develop
particularly innovative projects. Discussion groups provide formative assessment on the students’
engagement with the whole-cohort activities of the first and second terms. Students are also invited
to attend BMus 4 Professional Practice seminars that develop the administrative skills required by a
freelance musician.

Students who are deemed by their mentor to be not sufficiently engaged with the process, whether
through attendance and/or participation in the discussion group, will be required to attend a viva
voce with senior members of the Academic Studies and/or complete equivalent written work.

The summer term offers support as required by each group as they prepare for their summative self-
reflective account. The summative account develops ideas formulated in the autumn assessment
through an evaluation of musical and personal progress and artistic exploration, supported by
relevant secondary research.

Extended Guildhall Masters


The self-reflective process is continuous; students who undertook the Graduate Certificate year are
expected to refer to their development from that year to Part 1 of GAM in their SRAs.

11. Learning outcomes: please refer to the Programme Specification:


A4, A5, A6, A7, A8, B3, B4, C4, C5, C7, C8, C9, D1, D2, D3, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact hours
Lectures 9
Discussion groups 5
Individual tutorials 1

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark

Self-reflective account (1350-1650


Written assignment KCW 37 50
words)
Self-reflective account (2250-2750
Written assignment KCW 63 50
words)
Project output Project pitch (1-2 pages) KCW n/a Pass/Fail
Continuous assessment Progress Report KCW n/a Pass/Fail

Page 52 of 129 Guildhall Artist Masters Gold Copy 2018/19


c) Independent Study hours Notional Hours
Personal practice/study 185
d) Total student learning hours 200

13. Reading & Resources


The material will be specific to the students’ needs and pathways; the following list can be
considered as a general starting point:

Title Author Publisher Year


Artistic Practice as Research in Mine Doğantan-Dack Routledge 2015
Music: Theory, Criticism, Practice
Learning journals: a handbook for Moon, J.A. London: Routledge 2006
reflective practice and professional
development
Mentorship: the meaning of the Hays, T., Minichiello, V. and Research Studies in 2000
relationship for musicians Wright, P. Education 15, p.3-14
Musical Excellence: Strategies and Williamon, Aaron Oxford 2004
Techniques to Enhance Performance
Music, Thought and Feeling: Thompson, William F. Oxford University 2009
Understanding the Psychology of Press
Music
Practice-led Research, Research-led Smith, Hazel and Roger T Edinburgh 2009
Practice in the Creative Arts Dean (EDs) University Press
Psychology for Musicians: Lehman, A. Sloboda, J. Woody, Oxford University 2007
Understanding and Acquiring the R. Press
Skills
The influence of deliberate practice Ericsson, Anders In The Cambridge 2006
on the development of superior Handbook of
expert performance Expertise, CUP
The Musician’s Body Rosset I Llobet J Ashgate and 2007
Odam G Guildhall School of
Music & Drama
The Music Practitioner: Research Jane Davidson (Ed.) Ashgate 2004
for the Music Performer, Teacher
and Listener
The Practice of Performance: Rink, John Cambridge 1995
Studies in Musical Interpretation University Press
The Reflective Practitioner Schon, D. New York: Basic 1983
Books
Johari window http://www.noogenesis.com/game_theory/johari/joh
ari_window.html

Guildhall Artist Masters Gold Copy 2018/19 Page 53 of 129


1. Module Title Critique of Personal Development
2. FHEQ Level 7
3. Credit Value 30
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 2
Deputy Head of Academic Studies, Academic and
7. Module Leader Artistic Integration
Senior Postgraduate Tutor (Mentoring Groups)
8. Department Academic Studies

9. Aims of the Module


Part 2 of the Guildhall Artist Masters allows the student to bridge the divide between formal study
and a professional career. The Critique of Personal Development module (CPD) supports this process by
developing self-reflective techniques that allow the student to acquire the resilience expected of a
professional musician. In particular, CPD will:
• develop a comprehensive understanding of, and demonstrable capacity for, the research and
self-reflective skills involved in preparing and processing their artistic and professional projects.
• encourage students to be innovative and self-challenging within their field of expertise.
• enable students to demonstrate self-direction in tackling and solving challenges related to their
specialisms.
• ensure students are able to articulate and present their reflective practice in a manner which is
appropriate for diverse audiences and media.
• provide academic support for the students as they progress through Part 2 of the programme.

10. Teaching & Assessment Methodology


The Critique of Personal Development reinforces concepts from the Part 1 Reflective Practice module.
Like Principal Study, the Part 2 module encourages independent learning whilst offering
opportunities for peer support and structured learning.

Students attend two lectures at the beginning of the year, the first suggesting methods for a deeper
reflective practice than in Part 1 and the second refreshing ideas concerning the musician as
producer, offering support as students begin to plan their Part 2 portfolio.

These lectures are reinforced by an initial discussion group meeting.

Throughout the first two terms, students are required to attend at least three ResearchWorks
seminars, organised by the School’s research department, according to their own interests and
availability. Students’ responses to these seminars, and two other whole-cohort lectures in the Spring
term reflecting on different approaches to music, form the basis of the students’ first peer-
presentations during the Spring term. Delivered to small, ad-hoc groups according availability, and
led by a senior member of the Academic Studies team, these sessions offer students the opportunity
to share and discuss new musical ideas and receive formative feedback.

Page 54 of 129 Guildhall Artist Masters Gold Copy 2018/19


Support during the Spring and Summer terms is offered on an on-request basis; students are
expected to take up the opportunities to develop their ideas and prepare for their summative Critique
of Personal Development. Further formative feedback is provided by a second peer-presentation in the
Summer term, in which students are invited to share their developing work for the Critique.

Assessment
The assessment consists of one written submission comprising 100% of module grade: Critique of
Personal Development (4500-5500 words). Approaches will vary and guidance from tutors and peer-
presentations will be valuable in determining the most appropriate way of structuring this
submission.

Students also receive a pass/fail grading for engagement with the peer-presentations. Students who
fail to attend these presentations or have shown insufficient engagement with the module may be
required to attend a viva voce with senior members of the Academic Studies team or submit a
comparable piece of written work.

11. Learning outcomes: please refer to the Programme Specification:


A4, A5, A6, A7, A8, B3, B4, C4, C5, C7, C8, C9, D1, D2, D3, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours in each year of study
Type Contact hours in each year of study
Lectures 6
Discussion groups 1
Individual tutorials Variable
Peer presentation 4

b) Assessment

KIS Assessment Type Detail KIS code % Weighting % Pass Mark

Critique of Personal Development


Written assignment KCW 100 50
(4500-5500 words)
Peer-Presentations – participation
Continuous assessment KPE n/a Pass/Fail
and engagement

c) Independent Study hours Notional Hours


Personal practice/study 289
d) Total student learning hours for module in each year of study 300

Guildhall Artist Masters Gold Copy 2018/19 Page 55 of 129


13. Reading & Resources
The material will be specific to the students’ needs and pathways; the following list can be
considered as a general starting point:

Title Author Publisher Year

Artistic Practice as Research in Mine Doğantan-Dack Routledge 2015


Music: Theory, Criticism, Practice
Learning journals: a handbook for Moon, J.A. London: Routledge 2006
reflective practice and
professional development
Mentorship: the meaning of the Hays, T., Minichiello, V. and Research Studies in 2000
relationship for musicians Wright, P. Education 15, p.3-14
Musical Excellence: Strategies and Williamon, Aaron Oxford 2004
Techniques to Enhance
Performance
Music, Thought and Feeling: Thompson, William F. Oxford University 2009
Understanding the Psychology of Press
Music
Practice-led Research, Research- Smith, Hazel and Roger T Dean Edinburgh 2009
led Practice in the Creative Arts (EDs) University Press
Psychology for Musicians: Lehman, A. Sloboda, J. Woody, R. Oxford University 2007
Understanding and Acquiring the Press
Skills
The influence of deliberate Ericsson, Anders In The Cambridge 2006
practice on the development of Handbook of
superior expert performance Expertise, CUP
The Musician’s Body Rosset I Llobet J Ashgate and 2007
Odam G Guildhall School of
Music & Drama
The Music Practitioner: Research Jane Davidson (Ed.) Ashgate 2004
for the Music Performer, Teacher
and Listener
The Practice of Performance: Rink, John Cambridge 1995
Studies in Musical Interpretation University Press
The Reflective Practitioner Schon, D. New York: Basic 1983
Books
Johari window http://www.noogenesis.com/game_theory/johari/johari
_window.html
Specific reading lists are given to the students at the beginning of each component.

Page 56 of 129 Guildhall Artist Masters Gold Copy 2018/19


Guildhall School of Music & Drama
Guildhall Artist Masters
Elective modules

Guildhall Artist Masters Gold Copy 2018/19 Page 57 of 129


Techniques in Composition A
1. Module Title
Techniques in Composition B
2. FHEQ Level 7
3. Credit Value Each module: 10
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of
Part 1
study
7. Module Leader Deputy Head of Academic Studies (UG)
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• develop abilities in pastiche composition, and apply students’ learning to contexts such as
orchestration and analysis.
• provide a critical and supportive environment where students can produce and adapt their own
scores, whether pastiches, arrangements, transcriptions, or reductions.
• encourage in students a good attention to the technical and artistic detail of music.
• develop an understanding of historical composers’ practices which will aid students’ own
performances.
• develop skills that will complement and enhance learning in other elective subjects such as
conducting and historical topics.
• develop skills which may be relevant to students’ later professional practice as performers,
teachers, conductors, arrangers, etc.

There are five pathways, and both A and B modules can be taken following different pathways for a
total of 20 credits. Prerequisites might apply to individual pathways; see below for details.

10. Teaching & Assessment Methodology


Students may choose between five possible pathways:

1) Stylistic Composition: students will study styles and genres such as eighteenth-century string
quartets and nineteenth-century piano works, through analysis and pastiche composition.
Students present sample of previous relevant work to demonstrate required familiarity with
relevant knowledge and skills.
2) Counterpoint: students will study species counterpoint in two and three parts. The practical
study of counterpoint is complemented by the study of its historical and stylistic contexts, with
background reading and listening, score reading and analysis.
3) Introduction to Fugue: students will learn to write two and three-part fugues in a tonal idiom
broadly ranging from the eighteenth to the nineteenth centuries. The pedagogical approach is
based on relevant repertoire supported by treatises of Cherubini, Dubois and Gedalge,
complemented by other eighteenth-century sources (Fux, Martini) and current literature
(Walker). Students present sample of previous relevant work to demonstrate required
familiarity with relevant knowledge and skills.

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4) Orchestration: this module includes the study of orchestration from the Baroque to the
twentieth century, and will consider issues such as instrumental balance, blend and layout on
a score, tonal colour and contrast, clefs and transposing instruments. Students present sample
of previous relevant work to demonstrate required familiarity with relevant knowledge and
skills.
5) Analysis: the class includes studying a number of analytical approaches, contrapuntal
reduction, the hierarchic interaction of harmony and tonality, and theories of musical metre.
The analytical methodologies are applied through guided listening to selected pieces from
relevant periods of music history.

For all pathways, assessment is comprised of a portfolio of compositional and/or analytical exercises
(100%).

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A5, A6, B2, B3, B4, C3, C4, C5, C9, D3

12. Module Pattern (A and B)


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes / workshops 24

b) Assessment (A and B)
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Compositional and/or
Portfolio KCW 100% 50
analytical exercises

c) Independent Study hours Notional Hours


Individual study 76
d) Total student learning hours for module 100

13. Reading & Resources


Title Author Publisher Year

The Study of Orchestration Adler, S Norton 2002


Instrumentation/Orchestration Blatter, A Longman 1981
Stylistic Harmony Butterworth, A Oxford University Press 1994
A Guide to Musical Analysis Cook, N Oxford University Press 1987
Analysis through Composition Cook, N Oxford University Press 1996
Harmony in Schubert Damschroder, D Cambridge University Press 2010
Harmonic Practice in Tonal Music Gauldin, R Norton 1997
Music in the Galant Style Gjerdingen, R Oxford UP 2007
Orchestral Technique Jacob, G OUP 1986
The Style of Palestrina and the Dissonance Jeppesen, K Dover 2005
The Technique of Orchestration (4th Kennan, K & Prentice Hall 1983
Edition) Grantham, D

Guildhall Artist Masters Gold Copy 2018/19 Page 59 of 129


Title Author Publisher Year

A Generative Theory of Tonal Music Lerdahl, F & MIT Press 1983


Jackendoff, RS
The Study of Fugue Mann, A (ed.) Dover 1987
Explaining Music Meyer, L University of Chicago 1973
The Dynamics of Harmony: Principles Pratt, G Oxford University Press 1996
and Practice
Sonata Forms Rosen, C Norton 1980
Structural Hearing Salzer, F Dover Publications 1962
Preliminary Exercises in Counterpoint Schoenberg, A Faber 1963
Structural Functions of Harmony Schoenberg, A Williams & Norgate 1954
(ed. Stein, L)
A Geometry of Music: Harmony and Tymoczko, D Oxford University Press 2011
Counterpoint in the Extended Common
Practice
Theories of Fugue from the Age of Josquin Walker, PM University of Rochester Press 2000
to the Age of Bach

Page 60 of 129 Guildhall Artist Masters Gold Copy 2018/19


1. Module Title Body Matters
2. FHEQ level 7
3. Credit Value 10 or 20
ELE4046 (10 credits)
4. SITS module code
ELE4047 (20 credits)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Deputy Head of Academic Studies (UG)
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• Give students the opportunity to study in depth aspects of physiology and psychology relevant to
practice and performance.
• Encourage musicians to adopt a healthy approach to both their bodies and their minds.
• Promote students’ application of theory to their musical practice.
• Encourage students to identify, investigate and work towards resolving personal performance-
related difficulties.

10. Teaching & Assessment Methodology


The module consists of classes and individual study on the interaction between the psyche and the
soma (body) in the context of musicians’ performance and creation. The taught content of the course
includes a range of body and mind issues relevant to learning, practising, creating, making and
performing music. The links between mind and body is explored. Students have the opportunity to
build upon ideas disseminated in class by choosing, in negotiation with their tutor, a particular focus
for their own research, essay submission and presentation. Examples of study topics are:
a) performance anxiety
b) anatomical difficulties experienced by instrumentalists
c) the prevalence of pain in musicians
d) maintenance of good health and fitness
e) how to perform to maximum potential
f) facilitation and inhibition of musical creativity
g) managing competition in the profession
h) the ‘inner critic’
i) stage presence

The assessment consists of two parts:


a) an essay (1800-2200 words, 10 credits; or 3600-4400 words, 20 credits)
b) a critical reflection; 10-credit students may choose between either a 700-1000 word written
submission, or a 7-10 minute presentation (30%), 20-credit students may choose between
either a 1000-1200 word written submission, or a 10-12 minute presentation (30%)

Guildhall Artist Masters Gold Copy 2018/19 Page 61 of 129


11. Learning outcomes: please refer to the Programme Specification:
A4, A5, A7, A8, B4, C23, C4, C5, C7, D3

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops (10 and 20 credits) 24
Seminar (20 credits only) 2
One-to–one class/tutorial 1

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Written assignment Essay (1800-2200 words) KCW 60 50
Written assignment Written reflection (700-1000 KCW
or words) or 40 50
Oral assessment Presentation (7-10 mins) KPE
20 credits
Written assignment Essay (3600-4400 words) KCW 70 50
Written assignment Written reflection (1000-1200 KCW
or words) or 30 50
Oral assessment Presentation (10-12 mins) KPE

c) Independent Study hours Notional Hours


Personal practice/study 10 credits 71
20 credits 168
d) Total student learning hours for module 10 credits 100
20 credits 200

13. Reading & Resources


Title Author Publisher Year
The Psychology of Music Deutsch, D San Diego Academic Press 1999
Essentials of Anatomy and Martini, FH, Bartholomew, Prentice Hall 2000
Physiology EF
The Athletic Musician: A Paull, B and Harrison, C Scarecrow Press 1997
Guide to Playing without Pain
The Musician’s Body Rosset i Llobet, J and Odam, Ashgate and Guildhall 2007
G School of Music & Drama
The Science of the Singing Sundberg, J Northern Illinois University
Voice Press
The Musician’s Hand Winspur, I and Wynn Parry, M Dunitz 1998
CB

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1. Module Title Chamber Music
2. FHEQ level 7
3. Credit Value 10 or 20
ELE4011N (10 credits)
4. SITS module code
ELE4024N (20 credits)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Chamber Music
8. Department Chamber Music

9. Aims of the Module


This module aims to:
• Develop technical and artistic abilities in chamber music.
• Develop the co-operative skills necessary for the chamber player.
• Develop technical and artistic cohesion within a particular ensemble group.
• Enhance knowledge of the repertoire through study of chamber music.
• Develop students’ capacity for autonomy and efficiency in work practice, in preparation for
the nature of later experience in the outside world.

The module may be repeated in a subsequent year of the students’ programme (module B), in which
case different repertoire is of course prepared.

10. Teaching & Assessment Methodology


Groups are formed with support from the Chamber Music faculty. Registered groups receive lessons,
coaching and masterclasses with internal staff and visiting groups/individuals. Groups are
encouraged also to seek external opportunities for performance as well as internal platforms concerts
and competitions.

STRINGS/KEYBOARD: the 10 credit module is assessed in a 20-minute performance involving a


complete work of no less than 20 minutes’ duration, of which the panel will select
movements/excerpts. The 20 credit module is assessed with two minute performances (or in certain
circumstances one 40 minute performance) of two major chamber contrasting works, each of at least
20 minutes’ duration, of which the panel will select movements/excerpts. Repertoire cannot be
repeated across different assessments. In addition to the practical assessments, there are additional
non-assessed minimum requirements (coaching/platforms/masterclass etc) which will be
communicated at the start of the year.

WIND/BRASS AND PERCUSSION: the module is assessed in a final 20-minute performance (10-
credit elective), or two 20-minute performances (20-credit elective) or a 40-minute performance
(20-credit elective). The duration of the performances is from the moment the performers enter the
stage, to the last note played.

Repertoire can be either a whole work, or contrasting movements selected from different works, or
smaller complete works, or a combination of any of those.

Guildhall Artist Masters Gold Copy 2018/19 Page 63 of 129


ALL: repertoire cannot be repeated across different assessments.

The group must present a short printed programme to the assessors listing the repertoire, and the
movements to be played, but programme notes are not required. The group must also provide the
assessors with a copy of each score (or a copy of all the parts if there is no published score).

In addition to the practical assessments, there are additional non-assessed minimum requirements
(coaching/platforms/masterclass etc) which will be communicated at the start of the year.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
(10 and 20 credits) 24
Practical classes/workshops
(20 credits only) 48

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Practical skills assessment Performance 20 mins KPE 100 50
20 credits
Practical skills assessment Performance 40 mins KPE 100 50

c) Independent Study hours Notional Hours


Personal practice/study 10 credits 76
20 credits 152
d) Total student learning hours for module 10 credits 100
20 credits 200

13. Reading & Resources

Principal study teachers and chamber music coaches advise the repertoire. Scores and recordings for
most standard repertoire works and many lesser-known works are located in the Guildhall School
Library. Students are encouraged to use Urtext scores whenever possible.

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1. Module Title Collaborative Practice:
Cross-Arts Context
2. FHEQ level 7
3. Credit Value 10 or 20
4. SITS module code ELE4039 (10 credits)
ELE4040 (20 credits)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Programme Leader
8. Department Creative Learning

9. Aims of the Module


This module aims to:
• Give students the opportunity to explore ensemble music-making in cross-arts and/or trans-
cultural contexts.
• Allow students to push the boundaries of traditional music practice in way which contributes to
them to begin to find an individual voice.
• Challenge students to reflect on their strengths and capacities as tested in diverse and
challenging contexts.

10. Teaching & Assessment Methodology


The content is delivered through a combination of group and 1:1 tutorials, personal practice and
research and one or two collaborative projects run by Barbican/Guildhall Creative Learning
Division. Each project requires the student to collaborate in a specific cross-arts context, often drama,
dance or visual arts. Students can take the Elective as a 10 credit option (one standard project) or a 20
credit option (two standard projects or one more substantial project).

The Elective tutors support the student’s reflections on the context of the work, the methodological
approach, and the development of their personal practice. The project leader supports the student on
the practical work and project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division.

The intensive nature of these collaborations means that students, during the projects, need temporary
exemption from other aspects of the programme. Projects take place at moments in the year in which
it is possible to accommodate these exemptions, including vacation periods. Some projects involve
international placement; students choosing these options may need to pay for travel.

The module is assessed as follows:


Component A: A tutor report on the student’s participation and development in their first project
(50% of component). Submission of 900-1000-word self-reflection (50% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

Guildhall Artist Masters Gold Copy 2018/19 Page 65 of 129


Component B: A tutor report on the student’s participation and development in the second project
(40% of component). Submission of 1000-1200-word self-reflection (60% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

Component C: A tutor report on the student’s participation and development in the project (40% of
component). Submission of 2000-2200-word self-reflection (60% of component). The essay should
include in-depth analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A6, A7, B4, C1, C3, C4, C5, C6, C9, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours

80 (10 credit module)


Practical classes/workshops
140 (20 credit module)

b) Assessment –
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Component A:
Project output Participation and 900-1000 KCW 100 50
word self-reflection
20 credits
Participation and 900-1000
Project output KCW 50 50
word self-reflection
Component B:
Project output Participation and 1000-1200 KCW 50 50
word self-reflection
Component C:
Project output Participation and 2000-2200 KCW 100 50
word self-reflection

c) Independent Study hours – Notional Hours


Personal practice/study 10 credits 20
20 credits 60
d) Total student learning hours for module 10 credits 100
20 credits 200

Page 66 of 129 Guildhall Artist Masters Gold Copy 2018/19


13. Reading & Resources
Title Author Publisher Year

The Re-enchantment of Art Gablik, S Thames and Hudson, New 1991


York
Inside the Music – Conversations with Ehrlich, D Shambhala Publications, 1997
Contemporary Musicians about Spirituality, Boston
Creativity, and Consciousness
Music of the Common Tongue. Survival and Small, C Wesleyan University Press, 1998
Celebration in African American Music New England
Ocean of Sound Toop, D Serpents Tail, London 1995
Audio culture: Readings in modern music Ed. Cox, C and Continuum Press 2004
D Warner
Silence Cage, J Marion Boyars 1961
Background noise - perspectives on sound art Labelle, B Continuum Press 2006

Musics of Many Cultures: an Introduction May, E Berkeley, University Of 1981


California
Improvisation: its Nature and Practice in Bailey, D Da Capo Press , USA 1992
Music
Participation (Whitechapel: Documents of Bishop, C. Whitechapel Gallery 2006
Contemporary Art) Ventures Limited Texts
Audio Culture, Readings in Modern Music Cox, C. & The Continuum 2004
Warner, D. International Publishing
Group Ltd
Creative Collaboration John-Steiner, V. Oxford University 2006
Press
Musical Identities Macdonald Oxford University Press 2002
A.R.,
Hargreaves, D.J.
& Miell, D.
Group Genius: The creative power of Sawyer, R.K. Basic books 2007
collaboration
Together: The rituals, pleasures and politics Sennet, R. Allen Lane, Penguin Books 2012
of cooperation

Guildhall Artist Masters Gold Copy 2018/19 Page 67 of 129


1. Module Title
Collaborative Practice:
Education Contexts
2. FHEQ level 7
3. Credit Value 10 or 20
ELE 4041 (10 credits)
4. SITS module code
ELE 4042 (20 credits)
5. Location of Delivery Guildhall School and external partners
6. Applicable in the year of study Part 1
7. Module Leader Programme Leader
8. Department Creative Learning

9. Aims of the Module


This module aims to:
• Develop an awareness of approaches to instrumental/vocal teaching and learning for all ages
and abilities.
• Develop core skills in voice and body work, percussion skills, approaches to structured and free
improvisation, group composition and communication skills.
• Devise creative and repertoire-linked projects appropriate for educational contexts and which
embrace imaginative approaches to performance in different educational contexts.
• Offer students relevant and meaningful connections with teaching organisations in the wider
community.
• Provide a forum for skill-sharing and self-assessment, contextualised and supported through
links with the various instrumental departments and the Research Centre for Teaching and
Learning.

10. Teaching & Assessment Methodology


The content is delivered through a combination of group and 1:1 tutorials, personal practice and
research and one or two collaborative projects run by Barbican/Guildhall Creative Learning
Division. Each project requires the student to collaborate in a specific cross-arts context, often drama,
dance or visual arts. Students can take the Elective as a 10 credit option (one standard project) or a 20
credit option (two standard projects or one more substantial project).

The Elective tutors support the student’s reflections on the context of the work, the methodological
approach, and the development of their personal practice. The project leader supports the student on
the practical work and project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division.

The intensive nature of these collaborations means that students, during the projects, need temporary
exemption from other aspects of the programme. Projects take place at moments in the year in which
it is possible to accommodate these exemptions, including vacation periods. Some projects involve
international placement; students choosing these options may need to pay for travel.

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The module is assessed as follows:
10 credits: Component A – 1 standard project
20 credits: Component A and component B – 2 standard projects
20 credits: Component C – 1 substantial project

Component A: A tutor report on the student’s participation and development in their first project
(50% of component). Submission of 900-1000-word self-reflection (50% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

Component B: A tutor report on the student’s participation and development in the second project
(40% of component). Submission of 1000-1200-word self-reflection (60% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

Component C: A tutor report on the student’s participation and development in the project (40% of
component). Submission of 2000-2200-word self-reflection (60% of component). The essay should
include in-depth analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A6, A7, B4, C1, C3, C4, C5, C6, C9, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
80 (10 credit module)
Practical classes/workshops
140 (20 credit module)

b) Assessment –
Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Component A:
Project output Participation and 900-1000 KCW 100 50
word self-reflection
20 credits
Component A:
Project output Participation and 900-1000 KCW 50 50
word self-reflection
Component B:
Project output Participation and 1000-1200 KCW 50 50
word self-reflection

Guildhall Artist Masters Gold Copy 2018/19 Page 69 of 129


Component C:
Project output Participation and 2000-2200 KCW 100 50
word self-reflection

c) Independent Study hours – Notional Hours


Personal practice/study 10 credits 20
20 credits 60
d) Total student learning hours for module 10 credits 100
20 credits 200

13. Reading & Resources


Title Author Publisher Year
Effective Teaching and Mentoring Daloz, L London: Jossey- 1986
Bass
Sound Waves Davies, L Unwin Hyman Ltd 1985
The Inner Game of Music Green, B Pan 1985
Instrumental Teaching: A Practical Guide to Hallam, S Oxford: 1988
Better Teaching and Learning Heinemann
How Children Fail and How Children Learn Holt, J Penguin 1982
A Teachers’ Guide to Classroom Research Hopkins, D Open University 1993
Press
Experiential Learning Kolb, D New Jersey: 1984
Prentice Hall
The Sounding Symbol Odam, G Cheltenham: 1985
Stanley Thorne
Music Mind and Education Swannick, K Routledge 1998
Teaching Music Musically Swannick, K London: Routledge 1999
Education (Whitechapel: Documents of Allen, F. Whitechapel 2011
Contemporary Art) Gallery Ventures
Limited Texts
Creativity in Schools: Tensions and dilemmas Craft, A. Routledge Farmer 2005
The creative music workshop: a contextual study In G. Odam and N. Guildhall School of 2005
of its origin and practice Bannan (Eds.), The Music &
Reflective Drama/Aldershot:
Conservatoire Ashgate
Fuelling ‘The Necessary Revolution’: Mission Models www.missionmode 2010
Supporting best practice in collaborative Money lsmoney.org.uk
working amongst creative practitioners and
organisations – a guide for public and private
funders
ArtWorks: Developing practice in participatory Paul Hamlyn www.phf.org.uk/p 2011
settings Foundation age.asp?id=746
Engaged Passions: Searches for quality in Renshaw, P. Eburon Academic 2010
community Publishers
contexts

Page 70 of 129 Guildhall Artist Masters Gold Copy 2018/19


Title Author Publisher Year
Collaborative Learning: A catalyst for In H. Gaunt. & H. Ashgate Publishing 2013
organisational development Westerlund (Eds.), Ltd
Collaborative
Learning in
Higher Education
Nurturing Creativity in young People: A report Roberts, P. www.culture.gov.u 2006
to Government to inform future policy k/reference_library
/publications/3524
.aspx
Out of Our Minds: Learning to be creative Robinson, K. Capstone 2001
Music and conversation In D. Miell, R.A.R. Oxford University 2005
MacDonald Press
& D.J. Hargreaves
(Eds.)
Facing the Music: Shaping Music Education Schippers, H. Oxford University 2010
From a Global Perspective Press
Musicians as Lifelong Learners: Discovery Smilde, R. Eburon Academic 2009
through biography Publishers
Creating a Land with Music. The work, Youth Music Youth Music 2002
education and training of professional musicians
in the 21st century

Guildhall Artist Masters Gold Copy 2018/19 Page 71 of 129


1. Module Title Composition for Media
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4016
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Academic Studies
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• Introduce and develop understanding of compositional techniques appropriate for producing
music for media.
• Generate an awareness of the factors influencing the establishment of techniques, such as
composing to a brief or to picture.
• Equip students with an overall knowledge of landmark films and television programmes, from a
musical perspective.
• Equip students with up-to-date technical skills appropriate for a contemporary media composer.

10. Teaching & Assessment Methodology


The class content includes the study of mainstream techniques (use of sequence, picture painting,
juxtaposition, transition, tempo, synchronization, association, emotive description) and practical
application of these within a simulated professional context (use of timecode LTC/SMPTE,
conducting to picture/click track, synchronising to picture, industry overview, performing rights,
production processes.

The module is assessed through completion of a portfolio of technical assignments (40%) and a final
project (60%).

11. Learning outcomes: please refer to the Programme Specification:


A3, A5, A6, A7, B2, C1, C3, C4, C7, D1, D3

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
One-to-one class/tutorial 1.5
Practical classes/workshops 25
Supervised time in studio/workshop/productions/rehearsals 1

b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Portfolio Technical assignments KCW 40% 50
Project output Final project KCW 60% 50

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c) Independent Study hours Notional Hours
Personal practice/study 172.5
d) Total student learning hours for module 200

13. Reading & Resources


Title Author Publisher Year
The Reel World : Scoring for Pictures Jeff Rona 2006
Complete Guide to Film Scoring Richard Davis 2000
Internet Movie Database www.imdb.co.uk
The Jazz Singer Alan Crosland Louis Silvers 1927
Gone with the Wind Victor Fleming Max Steiner 1939
Citizen Kane Orson Welles Bernard Herman 1941
Tom & Jerry - Bowling Alley Cat Hanna/Barbera Scott Bradley 1945
The Man with the Golden Arm Otto Preminger Elmer Bernstein 1955
Mission Impossible Various Lalo Schifrin 1973
Planet of the Apes Franklin J. Schaffne Jerry Goldsmith 1968
2001:A Space Odyssey Stanley Kubrick J.Strauss/R.Strauss/ 1968
Ligeti
Jaws Steven Spielberg John Williams 1975
Blade Runner Ridley Scott Vangelis 1982
American Beauty Sam Mendes Thomas Newman 1999
6 Feet Under (TV Series) Alan Ball Thomas Newman 2001

Guildhall Artist Masters Gold Copy 2018/19 Page 73 of 129


1. Module Title Conducting
2. FHEQ level 7
3. Credit Value 20 credits
4. SITS module code ELE4031
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Academic Studies
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• Develop in the student the ability to rehearse and perform with ensembles and orchestras.
• Equip students with appropriate technical skills which can be used in a broad range of contexts.
• Ensure the requisite capacities of confidence, independence, self-reliance and self-reflection.
• Provide some practical experience and opportunity appropriate to their needs.
• Develop appropriate communication and interaction skills.
• Support the student in acquiring some understanding of the supporting materials available.

10. Teaching & Assessment Methodology


There are eight places in this class every year. Students requesting this module are selected through
practical assessment of abilities and potential at the beginning of the year. The module is taught in
classes where students receive group and individual tutorials.

The content includes conducting technique, score preparation and interpretation; a knowledge of
instruments and style with consideration of historical context; organisational, management and
communication skills.

The assessment consists of one twenty-minute performance platform at the end of the module. This
might be split into two sections: one with an ensemble, the other with piano.

11. Learning outcomes: please refer to the Programme Specification:


A2, B2, B4,C1,C3, C4, C5, C6, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops 24
Technique and Musicianship classes 7
One to one tutorial 0.5

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark

Practical skills assessment Performance (20 mins) KPE 100 50

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c) Independent Study hours Notional Hours
Personal practice/study 136
Self-directed group rehearsal/study 40
d) Total student learning hours for module 200

13. Reading & Resources


The tutor advises students on repertoire for this elective collectively and where appropriate,
individually. Repertoire usually includes ensemble, orchestral and vocal music from the baroque to
the present.
Title Author Publisher Year
Conducting and Rehearsing the Instrumental Music Colson, JF Scarecrow Press 2012
Ensemble: Scenarios, Priorities, Strategies, Essentials, and
Repertoire
Anatomy of the Orchestra Del Mar, N Faber and Faber 1983
Orchestral Technique Jacob, G OUP 1981
Orchestration Piston, W Gollancz 1973
Music as Alchemy: Journeys with Great Conductors and Service, T Faber & Faber 2012
their Orchestras
Art of Conducting: Great conductors of the past Teldec Video 2002
Art of Conducting: Legendary conductors of a golden era Teldec Video 2002

Guildhall Artist Masters Gold Copy 2018/19 Page 75 of 129


Contextual Studies -
1. Module Title
The Forbidden Saxophone
2. FHEQ Level 7
3. Credit Value 10
4. SITS module code ELE4067
5. Location of Delivery Guildhall School
6a. Module Type Class teaching
6b. Applicable in the year of study Part 1
7. Module Leader Head of WBP
8. Department WBP

9. Aims of the Module


This module is compulsory for Masters saxophone students in WBP, and open to other Masters
students, up to a maximum of 20. It presents issues which are core to the learning experience for
WBP saxophone students at this level. Charting the narrative of the saxophone’s development, and as
th
a mirror to developments in 20 century art, the lectures encompassing subjects including social,
racial and gender.

This module aims to:


• Convey knowledge of this instrument and its cultural significance, both as cultural icon and
underdog. By charting its people and social history, offering a catalyst into reading and listening
further, to enable students to draw personal vision, strength and inspiration from the history and
innovation of past music and players, of issues of social and artistic change, of race and gender.
• Inform the professional and creative work that students do in their Masters and in their
professional life thereafter.

10. Teaching & Assessment Methodology


Content is delivered via six 2-hour lectures, each supplemented by a 1hr group seminar.
Lectures are as follows:
1. The Saxophone and the Art of Failure - invention and rejection
2. The Forbidden Saxophone - a social history from below
3. Siren Song - the sounds and styles of the saxophone
4. The Jazz Age - ragtime, circus, vaudeville and jazz
5. Classical Blues - factions and frictions
6. The Saxophone, Sex and Euphoria - the saxophone as an icon

Assessment:
The module is assessed by means of a 4750-5250 word essay.

11. Learning outcomes: please refer to the Programme Specification:


A4, A5, B3, B4, C3, C4, C5, C7, D1, D2, D3

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12. Module Pattern
a) Scheduled Teaching & Learning hours
KIS Type Contact Hours
Lecture 12
Group tutorial 6

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Written assignment Essay (4750-5250 words) KCW 100 50

c) Independent Study hours Notional Hours


Personal practice/study 82
d) Total student learning hours for module 100

13. Reading & Resources


Title Author Publisher Year
Yale University
The Saxophone Stephen Cottrell 2012
Press
The Saxophone John Harle Faber 2017
The Devil's Horn: The Story of the Saxophone,
Steven Segell Picador 2006
from Noisy Novelty to King of Cool
Cox, C. &
Audio Culture: Reading in Modern Music Continuum Press 2004
Warner, D.
Farrar, Straus &
The Rest is Noise Alex Ross 2007
Giroux
Birth of the Cool – Beat, Bop and the American
Lewis MacAdams Scribner 2002
Avant-Garde
Ian Carr, Digby
Jazz – the Essential Companion Fairweather, Harper Collins 1987
Brain Priestley
Wesleyan
Musicking – The meanings of Performing and Christopher
University Music 1998
Listening Small
Press

Guildhall Artist Masters Gold Copy 2018/19 Page 77 of 129


1. Module Title Electro-Acoustic Music
2. FHEQ Level 7
3. Credit Value 20
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Deputy Head of Academic Studies (UG)
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• build on an existing levels of understanding and skill in electronic music;
• pursue practical expertise in various instruments of music technology as appropriate to an
individual student’s area of speciality.
• build on students’ use of studio and live electronic technologies such as Logic and Max/MSP for a
current project recording/production studio, and develop their ability to produce new work
where relevant.
• equip students with further technological skills that will enable them to respond creatively to
state-of-the-art developments in electronic music technology.
• develop in students an understanding of the artistic possibilities opened up by technology.

There are two pathways: 1) Electronic Studio Techniques and 2) Electro-Acoustic Music and Sonic Art.
The former develops students’ general competencies in the studio. The latter has more emphasis on
applying these skills to an artistic project. For both pathways, students need to demonstrate they have
the right level of knowledge and skills through submission of a portfolio of work at the beginning
of the academic year and discussion with the elective tutor.

10. Teaching & Assessment Methodology


The teaching is organised in group sessions (6 to 8 students normally), workshops and tutorials, and
includes presentation and practical demonstration of production techniques, listening and discussion
and practical work.

The content will include areas such as:


• Recording techniques, including microphone technology, microphone placement, principles
of audio recording, field recording.
• Working with audio, including editings, eq, dynamic processing, frequency processing, pitch
processing, time domain processing, mixing
• Live electronics and electronic performance instruments

In addition, students taking Electronic Studio Techniques will cover the physics of sound, acoustics,
synthesis, sampling, computer-based recording.

Students taking Electro-Acoustic Music and Sonic Art will additionally cover the history and aesthetics
of electro-acoustic music and sonic arts, such as musique concrète, soundscape and sound art.

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The assessment consists of submission of a final project; for Electro-Acoustic Music and Sonic Art this
is normally a composition or live performance of between 6 and 8 minutes’ duration or an agreed
equivalent (e.g. a sound installation or recording project) (100%).

An evaluation report of techniques and ideas that the student has employed in their project (600-800
words) is also required (pass/fail).

11. Learning outcomes: please refer to the Programme Specification:


A2, A3, A5, A7, B2, C1, C3, C8, D3, D4

12. Module Pattern (A and B)


a) Scheduled Teaching & Learning hours
Type Contact Hours
Seminar 20
One-to–one tutorial 1.5

b) Assessment (A and B)
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Project output Production Project KCW 100 50
Project evaluation
Written assignment KCW n/a pass/fail
(600-800 words)

c) Independent Study hours Notional Hours


Personal practice/study 81
d) Total student learning hours for module 100

13. Reading & Resources


Title Author Publisher Year
Sound Recording Practice Borwick, J Oxford University 2000
Press
Audio Culture: Cox, C & Warner, D Continuum 2004
Readings in Modern Music
The Microphone Book Eargle, J Focal Press 2004
Electronic and Experimental Music: Holmes, T Routledge 2002
Technology, Music and Culture
th
Modern Recording Techniques, 6 edition Huber, D M Focal Press 2005
Mixing Audio: Concepts, Practices and Tools Izhaki, R Focal Press 2008
Capturing Sound: How Technology Has Katz, Mark University of 2010
Changed Music California Press

In the Blink of an Ear Kim-Cohen, S Continuum 2009

Electronic and Computer Music Manning, P Oxford University 1995


Press

Guildhall Artist Masters Gold Copy 2018/19 Page 79 of 129


Title Author Publisher Year
Soundscape: Our Sonic Environment and the Murray Schafer, R Destiny Books 1994
Tuning of the World

Acoustic and MIDI Orchestration for the Pejrol, A & DeRosa Focal Press 2007
Contemporary Composer R
Advanced Midi Users Guide Penfold, R PC Publishing 1996
In Search of a Concrete Music Schaeffer, P trans. University of 2013
Dack, J & North C California Press
CD: OHM: The Early Gurus of Electronic Music Various Elipsis Arts 2000

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Historical Performance:
1. Module Title
Performance
2. FHEQ Level 7
3. Credit Value 10 or 20; Vocal 10
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Historical Performance
8. Department Historical Performance

9. Aims of the Module


The Historical Performance: Performance (HPP) elective introduces students to the practices of
historical instruments; it also allows students who have begun to explore historical instruments to
develop their skills as performers in this field.

The elective is also open to vocal students who follow a slightly different curriculum.

Lessons emphasise the innate qualities of historical instruments, how they interact with our
musicianship, and what they can bring to our performance on both historical and modern
instruments.

Ensemble work (20 credits only; ensembles available without assessment for 10 credits) introduces
the importance to an understanding of text to all performers, and the different relationships
between the instruments of historical ensembles.

Vocal (10 credits only)


Vocal students who wish to explore historical performance are able to gain credit through
participation and performance in HP department projects. These are typically Consort, Baroque
Opera Scenes, and the Cantata Project. Availability may be subject to timetable constraints.

10. Teaching & Assessment Methodology


Entry to the elective is by audition on either historical or modern instruments; if auditioning on
modern instruments, the expectation is that the student will commence study on the historical
instrument. A student who has previously studied historical instruments as part of their Guildhall
School BMus degree may use the result of their HPP exam in lieu of an audition.

The School has a number of historical instruments available for loan; however, a School instrument
cannot be guaranteed.

Vocal students should initially discuss their participation in the elective with the Heads of Vocal
Studies and Historical Performance.

Assessment
10 and 20 credits
A 40-minute recital.

Guildhall Artist Masters Gold Copy 2018/19 Page 81 of 129


20 credits
In addition to the 40-minute recital, the student is assessed on their participation and performance in
a Historical Performance Department project or projects. On completion of the project, the student
presents a brief piece of reflective writing (500 words) that forms the basis of a viva voce (20
minutes) about the project.

10 credits – vocal
The student is assessed on their participation and performance in a Historical Performance
Department project or projects. On completion of the project, the student presents a brief piece of
reflective writing (500 words) that forms the basis of a viva voce (20 minutes) about the project.

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A5, B2, B3, B4, C3, C4, C5, C6, C7, D1, D2, D3, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours in each year of study
Type Contact hours in each year of study
Individual/ group lessons (10 & 20 credits) 15
Practical classes/ workshops
24
(20 credits, 10 credits – Vocal)

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits

Practical skills assessment Recital (40 minutes) KPE 100 50


10 credits (Vocal)

HP department
Project output KCW 100 50
performance project
20 credits

Practical skills assessment Recital (40 minutes) KPE 50 50


HP department
Project output KCW 50 50
performance project

c) Independent Study hours Notional Hours


Personal practice/study 85 (10 credits)
161 (20 credits)
d) Total student learning hours for module in each year of study 100 (10 credits)
200 (20 credits)

13. Reading & Resources


Title Author Publisher Year
Baroque Music Today: Music as Speech Nikolaus Harnoncourt Amadeus Press 1982
Primary and secondary sources as appropriate to the instrument

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Historical Performance: Principles
1. Module Title
and Research
2. FHEQ Level 7
3. Credit Value 10 or 20
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Historical Performance
8. Department Historical Performance

9. Aims of the Module


The Historical Performance: Principles and Research (HPPR) module allows students to engage with
the study of historical performance from the Middle Ages to the twentieth century and examine its
relationship with their Principal Study. It equips students with the skills required to critically read
both primary and secondary sources in the context of current musicological and professional debates
and encourages students to explore the interaction between their tacit knowledge as musicians and
academic thought.

HPPR aims to:


• develop students’ awareness of the interrelationship of history and performance
• introduce students to primary and secondary sources and current strategies for interpreting
these sources
• develop students’ awareness and application of appropriate research skills
• develop students’ awareness of notational representation in sound, in particular the varying
interpretation of superficially familiar symbols
• develop an appreciation of the formation of a historically informed performance canon and
an understanding of its impact on current and future performing practices

10. Teaching & Assessment Methodology


It is not necessary to play historical instruments to participate in this module, indeed it is encouraged
that students engage with the material through their Principal Study instrument or voice.

HPPR is taught through a series of 1.5-hour classes. Although these classes are frequently based
around source material, they may at times include practical work and students who are either HP
Principal Study or are also taking the Historical Performance: Performance (HPP) elective are
expected to integrate this material into their practice.

The module is supported by a Historical Performance Reader, selected by senior members of the
department, which offers access to a range of source and interpretative materials to all students
participating in performance and academic activities offered by the HP department.

The 10-credit module runs in the Autumn and Spring terms; the 20-credit module runs throughout
all three terms, expanding class study into a personal research project, supervised through individual
tutorials.

Guildhall Artist Masters Gold Copy 2018/19 Page 83 of 129


Assessment

10 credits
A 15-20-minute illustrated lecture is delivered to the class at the end of the Spring Term. This should
demonstrate the integration of some of the themes of the course with the student’s Principal Study.
The illustrated lecture is followed by questions from the assessment panel.
In preparation for this presentation, a 900-1100-word essay on a subject selected by the Module
Leader is submitted at the end of the Autumn Term.

20 credits
A personal research project, integral to the student’s Principal Study (or HPP study if appropriate),
applies the principles and techniques taught in the first two terms to a free choice of subject. The
research is delivered as a 40-45-minute illustrated lecture, followed by questions from the assessment
panel.

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A5, B2, B3, B4, C3, C4, C5, C6, C7, D1, D2, D3, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours in each year of study
Type Contact hours in each year of study
Practical classes/workshops 24
Individual tutorials (20 credits only) 6

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits

Written assignment Essay (900-1100 words) 30 50


15-20-minute
Oral assessment 70 50
illustrated lecture
20 credits

Written assignment Essay (900-1100 words) 15 50


15-20-minute
Oral assessment 35 50
illustrated lecture
40-45-minute
Oral assessment 50 50
illustrated lecture

c) Independent Study hours Notional Hours


Personal practice/study 50
Library-based study 26
Research project (20 credits only) 94
d) Total student learning hours for module in each year of study 100 (10 credits)
200 (20 credits)

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13. Reading & Resources
Title Author Publisher Year

Playing with History Again John Butt The Dunedin Consort 2017
Artistic Practice as Research in Mine Doğantan-Dack Routledge 2015
Music: Theory, Criticism, Practice
Baroque Music Today: Music as Nikolaus Harnoncourt Amadeus Press 1982
Speech
The Pathetick Musician: Moving an Bruce Haynes and Oxford University Press 2016
Audience in the Age of Eloquence Geoffrey Burgess
Reviving Early Music: Metaphors Eric Lubarsky University of Rochester 2017
and Modalities of Life and Living in
Historically Informed Performance
The Art of Re-enchantment. Making Nick Wilson Oxford University Press 2014
Early Music in the Modern Age
Specific reading lists are given to the students at the beginning of each component.

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Interpretation through
1. Module Title
Improvisation
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4017
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
Head of Centre for Classical Improvisation and Creative
7. Module Leader
Performance
Centre for Classical Improvisation and Creative
8. Department
Performance

9. Aims of the Module


This module aims to:
• Introduce students to the art of extemporisation in general (independent of repertoire-related
constraints) as well as stylistic improvisations (baroque, classical, romantic and post-romantic
styles). Elements covered include embellishments, fermata points, eingänge, preludes and
interludes, cadenzas, variations and fantasies. Post-tonal styles are also introduced and practiced.
• Introduce an improvisational state of mind while practicing repertoire by searching for a fusion
in real time between structural, harmonic and stylistic awareness and spontaneous gestures of
individual expression, while working on solo and chamber music repertoire (as well as
extemporising independently of repertoire).
• Develop presence, empathy and active listening between performing partners, as well as the
ability to lead and to follow in an ensemble situation.
• Encourage inner listening, and the development of tools for pursuing an individual search for
interpretation.

10. Teaching & Assessment Methodology


The work proceeds through fortnightly classes for small groups (4 to 5 students per group in order to
ensure active participation of every student as well as supporting working ambience). Content is
approached as class workshops in which students interact in performance with the tutor and with
other students. The teaching/learning process normally includes also analysis of video and audio
recordings of lessons. Students are encouraged to have access to some relevant theoretical knowledge,
but no writing is formally required. Students who express interest in researching relevant elements
further are supported in this.

The work is practical and normally covers the following areas:


• improvised dialogues and counterpoints against an unprepared harmonic background, later
developed to small ensemble improvisations in forms such as ABA, rondo and sonata.
• improvised dance forms in baroque and classical styles.
• Baroque preludes.
• Developing structural reductions for solo and chamber music repertoire in real time, elaborating
these in more than one way; using these tools for ‘hearing forward’, enhanced listening, and
learning by heart.
• Where appropriate, elaborating fermata points, repeats, eingänge, cadenzas, preludes and
interludes.

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• Participation in one of the Music & Drama collaborative projects (Circus or Story Telling
projects). Each one of the two projects lasts one term and includes a performance.

The module is assessed with one practical examination weighted at 70% of the final mark. This
covers: improvised baroque prelude or embellished dance form; classical rondo and theme and
variations or short sonata-form movement; developing harmonic/structural reductions of a
chamber-music or solo work in real time, elaborating these reductions in more than one way and
extemporising on them; fermata points, eingänge, fantasias and cadenzas. The remaining 30% of the
mark comes from a progress report on the student’s work during the year.

11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A4, A7, B4, C1, C3, C4, C6, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Supervised time in studio/workshop/productions/rehearsals 42

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Report Tutor’s report KPE 30 50
Practical skills
Practical examination KPE 70 50
assessment

c) Independent Study hours Notional Hours


Personal practice/study 158
d) Total student learning hours for module 200

13. Reading & Resources


Title Author Publisher Year
Essay on the True Art of Playing Bach, C.P.E. New York: W.W. 1948
Keyboard Instruments Norton and Co.,
“Improvisation”, The New Grove Badura-Skoda, E., Colling, 1980
Dictionary of Music and M., Horsley, I., Libby, D.
Musicians, Vol.9, pp.31-56 Jairazbhoy, N.A.
‘Back to the future: Towards the Dolan, D Ashgate 2005
revival of extemporisation in
classical music performance’. In G.
Odam & N. Bannan (eds.), The
Reflective Conservatoire: Studies
in Music Education

Guildhall Artist Masters Gold Copy 2018/19 Page 87 of 129


Title Author Publisher Year
‘The improvisatory approach to Dolan, D., Sloboda, J., Music Performance 2013
classical music performance: an Jeldroft Jensen, H., Crüts, Research
empirical investigation into its B., Feygelson, E.
characteristics and impact’
Chopin: Pianist and Teacher Eigeldinger, JJ Cambridge University 1986
Shohet, N Press
Osostowicz, K Howat, R
A Generative Theory of Tonal Lerdhal, F. and Jackendoff, MIT Press, Cambridge, 1983
Music R.S. Mass.
‘Thoughts on Improvisation: A Nettl, B Musical Quarterly 124 1974
Comparative Approach’
‘Schenker and Improvisation’ Rink, J. Journal of Music 1993
Theory, 37(1), 1-54.

Structural Hearing Vols.1 and 2 Salzer, F Charles Boni, NY 1952
Faber & Faber, London
‘Comparative analysis of multiple Sapp, C. S. Proceedings of the 2007
musical performances’ International
Conference on Music
Information Retrieval,
497-500.
Structural Functions of Harmony Schoenberg, A Clarendon Press, 1983
Oxford,
The Musical Mind: The Cognitive Sloboda, J.A Norton, New York 1985
Psychology of Music
Schnabel’s Interpretation of Piano Wolff, K. 1972
Music

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1. Module Title
Jazz Composition & Arranging
(Jazz students)
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4019
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Jazz
8. Department Jazz

9. Aims of the Module


This module aims to:
• Develop practical skills used in the composition and arranging of traditional and contemporary
jazz.
• Encourage and develop skills in both standard styles and forms, and those styles and forms
generated by the student.
• Develop awareness of instrumental ranges, tone colour, character, and orchestration.
• Familiarise students with models and schools of composition and arranging.
• Enable students to question the boundaries of traditional practice.

10. Teaching & Assessment Methodology


Content includes melody writing, harmonic development, chord voicing, counterpoint,
orchestration, style, and presentation of scores and instrumental parts.

The class uses a variety of teaching and learning methods, including presentation of examples and
techniques by the tutor, group analysis of musical examples, and the realisation and analysis of the
students' own compositions and arrangements.

The first half of the module concentrates on techniques employed in small ensembles whilst the
second half concentrates on arranging for larger forces. Arrangements are rehearsed and recorded
both for the purposes of assessment and for formative feedback.

11. Learning outcomes: please refer to the Programme Specification:


A3, A4, A5, B3, B4, C4, C5, C7, D2, D3

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops 48

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Portfolio Portfolio of arrangements KCW 100 50

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c) Independent Study hours Notional Hours
Personal practice/study 152
d) Total student learning hours for module 200

13. Reading & Resources


Title Author Publisher Year
A Guide to Jazz Arranging and Coker, J Rottenberg: Advance Music 2005
Composing
Arranging and Composing for the Baker, D Alfred Pub Co 1988
Small Ensemble
Birth of the Cool Collection of scores Milwaukee: Hal Leonard
Changes over time: the evolution of Sturm, F Rottenberg: Advance Music 1995
jazz arranging
Composing for the Jazz Orchestra Russo, William Chicago University Press 1961
Inside the Score Wright, Raymond Develan: Kendor 1982
Inside the Score Wright, R. New York: Kendor 1982
Jazz Arranging and Composing: A Dobbins, B Advance Music 1986
Linear Approach
Jazz arranging techniques: from Lindsay, G Miami, FL: Staff Art 2005
quartet to big band Publishing
Sounds and Scores Mancini, H Wise Publications 1962
The Gil Evans Collection Ed. Muccioli, J. Milwaukee: Hal Leonard
The Swing Era Schuller, Gunther New York: Oxford university 1989
Twentieth Century Harmony Persichetti, Vincent London: Faber 1978

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1. Module Title Jazz Improvisation (Jazz students)
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4018
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Jazz
8. Department Jazz

9. Aims of the Module


This module aims to:
• Develop practical improvisational skills: design, linear detail and independence, (both harmonic
and rhythmic), improvisational processes, stylistic awareness and depth of artistic intention.
• Develop problem-solving skills related to improvisational practice.
• Encourage artistic curiosity and an open-minded approach to improvised music.

10. Teaching & Assessment Methodology


The teaching and learning strategies are experiential, employing a range of environments including
improvisation within forms (with specific skills and applications) through to free improvisation.
Topics covered include:
• Design and motivic development
• Linear independence; rapid cadential movement; rhythm as an improvisational resource;
improvising within non-functional harmony; constructive dissonance; "time-no-changes"; the
relationship between language, form, concept and spirit
• Awareness of factors affecting the practice of improvisation

The module is assessed with the following two components:


Assessment A: Spring-term, normally week 4: Mid-elective presentation - 50%
Assessment B: Summer Term, normally week 3: Completion of elective presentation - 50%

In each presentation, students perform a 25-minute programme. The repertoire is to be derived from
coursework and agreed with the improvisation teacher and performed from memory.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops 48

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b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Assessment A:
Practical skills assessment KPE 50 50
25-minute programme
Assessment B:
Practical skills assessment KPE 50 50
25-minute programme

c) Independent Study hours Notional Hours


Personal practice/study 152
d) Total student learning hours for module 200

13. Reading & Resources


Title Author Publisher Year
A Chromatic Approach to Jazz Liebman, D. Rottenburg: Advance 1991
Harmony and Melody
A Creative Approach to Jazz Piano Dobbins, B. Rottenburg: Advance 1994
Harmony
A Creative Approach to Practicing Baker, D. New Albany: Jamey Aebersold 1994
Jazz Jazz, Inc.
Accelerated Learning Alistair Smith Network Press 1996
Beyond Time and Changes Crook, H. Rottenburg: Advance
Building a Jazz Vocabulary Steinel, M. Milwaukee: Hal Leonard 1995
Creative Rhythmic Concepts for Jazz Guilfoyle, R. Dublin: Newpark Music Centre 1999
Improvisation
Drawing On The Right Side Of The Betty Edwards Harper Collins 1993
Brain
Forward Motion Galper, H. Available online: 2003
http://www.forwardmotionpdf.co
m
Free Play - Improvisation in Life Stephen Tarcher/Putnam 1990
and Art Nachmanovitch
Hearin’ the Changes Coker, J. et al Rottenburg: Advance 1997
How to Comp Crook, H. Rottenburg: Advance
How to Improvise - A Guide to Hal Crook Advance 1991
Practising Improvisation
How To Practice Jazz Jerry Coker Aebersold 1990
Inside Improvisation 1-7 Bergonzi, J. Rottenburg: Advance
Performance Ear Training Mixon, D. Rottenburg: Advance 1998
Practical Jazz Lionel Grigson Stainer & Bell 1992
Ready, Aim Improvise! Exploring the Hal Crook Rottenburg: Advance 1999
Basics of Improvisation
The Jazz Theory Book Mark Levine Sher Music 1989
Thinking in Jazz Berliner, P. Chicago: The University of 1994
Chicago Press

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1. Module Title Music, Philosophy and the Arts
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4034
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Deputy Head of Academic Studies (UG)
8. Department Academic Studies

9. Aims of the Module


This module is for students who wish to gain a wider and more systematic understanding of musical
practices in relation to the arts as a whole. Besides studying key texts in contemporary and historical
aesthetics, participants will consider subjects such as the meaning of artistic activity, the social and
cultural value of music, and the relation of aesthetic value to ideas of truth and goodness.

This module aims to:


• broaden students’ awareness of the place of music in the wider context of culture and society.
• develop techniques of philosophical analysis and critical reading, thinking and writing.
• encourage reflection on the value of musical performance in the context of contemporary
society.
• give a substantial grounding in the history and contemporary practice of the philosophy of art.

10. Teaching & Assessment Methodology


The course consists of 18 group lectures/seminars (1hr lecture 30min discussion), 4 specialist group
tutorials (1hr) and 2 one-to-one tutorials (0.5 hr).

There are two assessed projects: one spoken presentation to be delivered in class (15 mins + 5 mins
questions); one essay (3600-4400 words) written in response to a set question.

11. Learning outcomes: please refer to the Programme Specification:


A4, A5, B3, B4, C3, C4, C5, C7, D1, D2, D3

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Lecture 27
Seminar 4
One-to-one class/tutorial 1

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Oral assessment In class presentation (15
KPE 20 50
mins + 5 mins questions)
Written assignment Essay (3600-4400 words) KCW 80 50

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c) Independent Study hours Notional Hours
Self-directed group rehearsal/study 171
d) Total student learning hours for module 200

13. Reading & Resources


Title Author Publisher Year
‘Who Cares if You Listen?’ [1958] Milton Babbitt
‘The Work of Art in the Age of Walter Benjamin
Mechanical Reproduction’ [1936]
Aesthetics: A Comprehensive Steven M. Cahn & Blackwell 2008
Anthology Aaron Meskin
Aesthetics of Music: Musicological Stephen Downes (ed), Routledge 2014
Perspectives
The Imaginary Museum of Musical Lydia Goehr Oxford University Press 2007
Works: An Essay in the Philosophy
of Music
Postmodernism in Music Kenneth Gloag Cambridge University 2012
Press
Music in German Philosophy Stefan Lorenz Sorgner University of Chicago 2010
& Oliver Fürbert (eds.) Press
Adorno’s Aesthetics of Music Max Paddison Cambridge University 1993
Press

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Opera and Theatre A (singers)
1. Module Title
Opera and Theatre B (singers)
2. FHEQ level 7
3. Credit Value Each module: 10
ELE4027N (A)
4. SITS module code
ELE4029N (B)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Vocal Studies
8. Department Vocal Studies/Opera

9. Aims of the Module


This elective is available to singers only, to familiarise students with the performance of repertoire
designed for the stage. It is structured so that experiences may be derived from drama, movement,
opera chorus, opera scenes and/or cover roles. It aims to:
• Develop in the singer a considerable capacity for individual and ensemble performance in
music-dramatic contexts.
• Equip singers with appropriate expertise which could be used in a broad range of professional
contexts.
• Provide dramatic experience and opportunities which correspond to the development of the
individual singer’s artistic and professional needs.
• Develop appropriate communication and interaction skills in relation to audiences, performance
partners, stage directors, music directors, repetiteurs and stage management.

Students may take both modules in one FT academic year, or Module A in PT year 1 and Module B in
PT year 2.

10. Teaching & Assessment Methodology


Teaching and learning is through class activities, ensemble rehearsals and performances both in
directed and undirected groups and personal practice and research.

Assessment by tutors and the creative teams on particular performance projects is based on
class/rehearsal/performance work throughout the project.

Teaching & Assessment:


Module A: one project in drama, movement, opera chorus, opera scenes, cover roles
Module B: one project in drama, movement, opera chorus, opera scenes, cover roles or the summer
term of professional work (role, cover or chorus) with an approved Opera company: Glyndebourne
Opera; Garsington Opera; Holland Park Opera; Grange Park Opera; other professional opera
companies approved by Head of Vocal Studies.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5

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12. Module Pattern
a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops per module 37.5

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A
Project output Performance project KPE 100 50
Module B
Project output Performance project KPE 100 50

c) Independent Study hours Notional Hours


Personal practice/study per module 62.5
d) Total student learning hours per module 100

13. Reading & Resources


Teachers advise repertoire and reading lists to students according to individual
projects. Possible supporting texts include:
Title Author Publisher Year
Voice
The Right to Speak Patsy Rodenburg Methuen Ltd 1992
Care of the Professional Voice Dr Garfield Davies & A.C.Black 2004
Anthony F. Jahn
The Moving Body Jacques Lecoq Methuen 2000
The Singing Voice: An Owner’s Pat Wilson Currency Press 1997
Manual
The Muscle Book Paul Blakey Bibliotek Books 1992
Opera
A Short History of Opera Grout, Donald Jay New York: Columbia 1965
UP
The Complete Book of Light Opera Lubbock, Mark London: Putnam 1962
A Concise History of Opera Orrey, Leslie London: Thames & 1972
Hudson
The Oxford Illustrated History of Parker, Roger, ed Oxford: OUP 1994
Opera
Operetta: A Theatrical Study Traubner, Richard London: Gollancz 1984
Acting & drama
The Invisible Actor Yoshi Oida & Lorna Methuen 2002
Marshall
The Empty Space Peter Brook Penguin 1990
Performance
Presence Patsy Rodenburg Penguin 2007
True & False – Heresy and Common David Mamet Faber & Faber 1998
Sense for the Actor
Psychology for Performing Artists: Glenn D Wilson Whurr Publishing 2001
Butterflies & Bouquets

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PianoWorks A (pianists)
1. Module Title
PianoWorks B (pianists)
2. FHEQ level 7
3. Credit Value Each module: 10
ELE4062 (A)
4. SITS module code
ELE4063 (B)
5. Location of Delivery Guildhall School
6. Applicable in the year of
Part 1
study
7. Module Leader Deputy Head of Keyboard Studies
8. Department Keyboard

9. Aims of the Module


This module aims to:
• develop expertise in preparing and performing contemporary scores
• encourage curiosity and a level of familiarity with this area of repertoire and its
cultural background
• nurture teamwork and mental focus during a limited rehearsal period
• enable pianists to develop appropriate communication and interaction skills
both with composers and in relation to audiences and performance partners
• prepare concerts for public performance

10. Teaching & Assessment Methodology


Pianists choosing this module can choose between a number of extant projects, each of which would
be worth 10 credits. These include the New Music Ensemble, VoiceWorks,
Composer Workshops, BBC Total Immersion events and the various opportunities for developing &
performing new works written by the postgraduate composers.

The projects on offer will vary from year to year, but there will always be at least three to choose
from. Each will have its own schedule of classes, coaching and rehearsal, and each will culminate in
a performance, usually open to the public.

Assessment:
Each module will be assessed both through engagement with the project (40%), and
through the final performance (60%).

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, B1, B2, C1, C2, C3, C5, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops 12

Guildhall Artist Masters Gold Copy 2018/19 Page 97 of 129


b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills assessment Final performance KPE 60 50
Continuous assessment Project engagement KPE 40 50

c) Independent Study hours Notional Hours


Personal practice/study 63
Self-directed group rehearsal/study 20
Library-based study 5
d) Total student learning hours for module 100

13. Reading & Resources


Teachers advise repertoire and reading lists to students according to individual projects. Possible
supporting texts include:
Title Author Publisher Year
New music at Darmstadt: Nono, Martin Iddon CUP 2013
Stockhausen, Cage and Boulez
The New York Schools of music and the Edited Steven Johnson Routledge 2002
visual arts: John Cage, Morton Feldman
Edgar Varese, Willem de
Kooning, Jasper Johns, Robert
Rauschenberg.
The Cambridge Companion to John Cage Edited David Nicholls CUP 2002
Silencing the sounded self: John Cage and Christopher Shultis Northeastern 1998
the American experimental tradition. University Press
Composer to composer: conversations about Andrew Ford London, Quartet 1993
contemporary music
Silence: lectures and writings John Cage Wesleyan University 1973
Press

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1. Module Title Research Project
2. FHEQ level 7
3. Credit Value 20 or 40
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Deputy Head of Academic Studies (Undergraduate)
8. Department Academic Studies

9. Aims of the Module


This module aims to:
• develop further students’ appreciation of and engagement with their chosen fields within
musicology and artistic research.
• foster curious, creative and innovative musicians through research and reflection on their own
practice and musical context.
• become aware of key practitioners, texts and debates in their chosen fields within musicology
and artistic research.
• promote students’ independent study and increase their confidence in this work by developing
their research skills.
• promote students’ critical faculties in reading, thinking, discussion and writing on topics related
to musicology and creative practice.
• develop a critical and sophisticated understanding of the relevance of musicological study to the
practice of performance artists.
• effectively communicate their ideas through presentation, writing and (where relevant)
performance.
• encourage and aid the development of a research culture within the postgraduate student body.

Pre-requisite: Students who wish to take this elective must submit a piece of academic written work
which they have completed as part of their previous studies (e.g. essay / dissertation), at the
beginning of the academic year. This should be at least 3000 words and in English. (The student’s
own translation of an essay previously written in another language is acceptable, provided it is
wholly the student’s own work).

10. Teaching & Assessment Methodology


Students have a free choice of topic within the field of music research, with advice from their tutor.
Teaching is through a flexible combination of one-to-one tutorials and group seminars, with
individual programmes of study tailored to suit the project and research training needs of the
student. The majority of time is devoted to individual study, though tutors will advise students on
relevant research events taking place within the School and externally, and how students can
develop their own research and professional networks.

Students may choose between three possible pathways, in consultation with their tutor:
1) Research through Artistic Practice: students will devise a research enquiry based on their
own artistic practice and key debates in related fields. Teaching will focus on research
methodologies for artistic research and students will have the option of demonstrating their
research enquiry through their practice.

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2) Discovering Neglected Repertoire: students will explore a range of repertoire which for
various reasons is generally little played and heard, and investigate the reasons for this.
Where numbers allow, occasional seminars will provide the focus of these discussions.
Students will have the option of demonstrating their research enquiry in a lecture recital /
illustrated lecture.
3) Personal Research Project: students have a free choice of research topic within the field of
musicology, with advice from their tutor. The work is mostly carried out individually, with
regular one-to-one tutorials, and assessment is usually through a written research paper
and/or a lecture recital / illustrated lecture.

For 20 credits, assessment comprises:


EITHER
• a 20-minute mid-year presentation to peers on the progress of their chosen specialist topic (25%)
• a written research paper of 8,000-10,000 words (75%)
OR
• a 20-minute mid-year presentation to peers on the progress of their chosen specialist topic (25%)
• a written research paper of 4,000-5,000 words (40%)
• a lecture recital or illustrated lecture of 20-25 minutes which evidences the research enquiry
(35%)

For 40 credits, assessment comprises:


EITHER
• a 20-minute mid-year presentation to peers on the progress of their chosen specialist topic (20%)
• a written research paper of 12,000-15,000 words (70%)
• attendance at School research events as well as relevant seminars in the doctoral training
programme, written up in the form of a reflective journal of 900-1,100 words (10%)
OR
• a 20-minute mid-year presentation to peers on the progress of their chosen specialist topic (20%)
• a written research paper of 7,000-8,000 words (40%)
• a lecture recital or illustrated lecture of 45-50 minutes which evidences the research enquiry
(30%)
• attendance at School research events as well as relevant seminars in the doctoral training
programme, written up in the form of a reflective journal of 900-1,100 words (10%)

11. Learning outcomes: please refer to the Programme Specification:


A4, A5,B3, B4, C4, C5, C6, C7, D1, D2, D3

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
12* (20 credits)
Seminar
20* (40 credits)
12* (20 credits)
One-to-one tutorial
30* (40 credits)
* there will be a minimum of 24 / 50 contact hours but the balance may alter to reflect the
number of students taking the module, and the pathways chosen.

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b) Assessment
KIS Assessment Type Detail KIS code Weighting % % Pass Mark
20 credits
Oral assessment Presentation 20 mins KPE 25% 50
8,000-10,000 word research paper, 75%
or
Written assignment KCW 50
4,000-5,000 word research paper
with lecture recital option 40%
Practical skills
Lecture Recital: 20-25 mins 35%
assessment
40 credits
Oral assessment Presentation 20 mins KPE 20% 50
900-1,100 word journal of
Written assignment KCW 10% 50
seminar attendance and learning
12,000-15,000 word research 70%
paper
Written assignment or KCW 50
7,000-8,000 word research paper
with lecture recital option 40%
Practical skills
Lecture Recital: 45-50 mins 30% 50
assessment

c) Independent Study hours Notional Hours


Library-based study 176 (20 credits)
350 (40 credits)
d) Total student learning hours for module 200 (20 credits)
400 (40 credits)

13. Reading & Resources


Title Author Publisher Year

Musicology: The Key Concepts David Beard & Kenneth Routledge 2005
Gloag
The Craft of Research Wayne C. Booth, Gregory G. University of Chicago 2003
Colomb & Joseph M. Press
Williams
The Cultural Study of Music: A Clayton, Martin, Trevor Routledge, 2003
Critical Introduction Herbert & Richard
Middleton (eds),
Music: A Very Short Introduction Nicholas Cook Oxford University Press 1998
Rethinking Music Nicholas Cook & Mark Oxford University Press 1999
Everist (eds.)
Artistic Practice as Research in Mine Dogantan-Dack (ed.) Ashgate 2015
Music: Theory, Criticism, Practice

Guildhall Artist Masters Gold Copy 2018/19 Page 101 of 129


Title Author Publisher Year

Music in Words: A guide to Trevor Herbert Associated Board of the 2001


Researching and Writing about Royal Schools of Music
Music
Constructing Musicology Williams, Alastair Ashgate 2001
Further reading will be centred on the student’s individual research topic.

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Song Accompaniment A (pianists)
1. Module Title
Song Accompaniment B (pianists)
2. FHEQ level 7
3. Credit Value Each module: 10
ELE4032 (A)
4. SITS module code
ELE4053 (B)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Deputy Head of Keyboard Department
8. Department Keyboard Vocal Studies

9. Aims of the Module


This module aims to:
• Enable the pianist to develop expertise in song accompaniment.
• Give experience in working and performing with a variety of singers and song repertoire.
• Create consciousness of the demands of song accompaniment as distinct from instrumental
chamber music.
• Encourage and develop the specific pianistic skills which this field necessitates.
• Develop familiarity with the cultural background of the central repertoire in this field and the
importance of textual awareness.
• Develop the supportive skills and insight crucial in this field.

10. Teaching & Assessment Methodology


Most pianists will be allocated to one of the Songs at Six projects run by the Vocal Dept. These will
generally have an intensive three-week period leading to an assessed performance, which will
qualify as a 10 credit module. Repertoire and singers will be decided in advance of the coaching
period and duos will be expected to prepare and rehearse the music before coaching begins.

Those taking a further 10 credits of song accompaniment, or those unable to join one of the Songs at
Six projects (for instance repetiteurs, due to their timetable in the Opera Dept.), will be asked to
prepare a 20 min programme of song repertoire with a singer or singers of their own choice for 10
credits (or two 20 min assessments for 20 credits). Coaching towards these performances will be
available from the Deputy Head of Keyboard Studies and also from an external song
specialist. Pianists will be encouraged to work with their singers beyond the precise limitations of
this module, taking part in the vocal performance platforms, in song classes, singers’ assessments
and, where appropriate, in master classes taken by internal or visiting professors.

For the latter assessment, the duo should offer repertoire originally written for voice and piano, as
distinct from orchestral transcriptions or works intended for harpsichord. Two printed programmes
and a copy of the music must be provided for the assessment panel.

Students may take both modules in one FT year, or module A in PT year 1 and module B in PT year
2.

Guildhall Artist Masters Gold Copy 2018/19 Page 103 of 129


11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, B1, B2, C1, C2, C3, C5, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops for each module 12

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A

Practical skills assessment 20 mins performance KPE 100 50


Module B
Practical skills assessment 20 mins performance KPE 100 50

c) Independent Study hours Notional Hours


Self-directed group rehearsal/study for each module 88
d) Total student learning hours for each module 100

13. Reading & Resources


Title Author Publisher Year
The Interpretation of French Song Bernac, Pierre Gollancz 1970
A French Song Companion Johnson, G & Stokes R OUP 2000
The Book of Lieder Stokes, Richard Faber 2005
Lieder Line by Line Phillips, Lois London: Duckworth 1979
The Penguin Book of Lieder Prawer, S.S., ed London: Penguin 1969
Ariettes Oubliées Debussy, Claude Editions Durand
Die Schöne Müllerin Schubert, Franz Henle Edition

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1. Module Title
Vocal Repertoire A (singers)
Vocal Repertoire B (singers)
2. FHEQ level 7
3. Credit Value Each module: 10
ELE4037(A)
4. SITS module code
ELE4037(B)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of Vocal Studies
8. Department Vocal Studies

9. Aims of the Module


This elective module is available to singers only. This module aims to:
• Develop understanding of the distinct technical stylistic demands of vocal repertoire related to
the major sung European languages
• Encourage and develop the specific vocal and linguistic skills which this field necessitates
• Create consciousness of the wider cultural context of core vocal repertoire
• Encourage the student to gain a body of practical experience in this field through concert activity

10. Teaching & Assessment Methodology


Teaching is in the form of performance projects on key areas of vocal repertoire. In consultation
with the Module Leader, students select from a list of projects that changes from year to year. This
covers a variety of repertoire in different languages, commonly including song in English, French &
German; and song or opera/oratorio in Italian & Russian.

Students who choose to take one module (Module A) for 10 credits will participate in one project;
students who choose to take two modules (Modules A & B) for 20 credits participate in two projects,
which must be predominantly in different languages. PT students may take both modules in one PT
year, or module A in PT year 1, and module B in PT year 2.

Each module is assessed with a performance of repertoire up to 20 minutes in length, assigned by or


agreed with the tutor (60%) and through a progress report on participation in the sessions (40%).

Masters level performance assessment criteria are used for the purposes of assessment. Attendance at
all sessions allocated to a project is expected and the progress report/grade will reflect the quality and
consistency of the student’s contribution in the sessions.

In addition to working with the tutor towards the performance of allocated songs/arias, students are
expected to contribute to discussion and analysis, as well as to learn from presentations by the
tutor, reading assignments and listening to / critiquing workshop performances by peers.
Pianists are provided for this elective but singers are encouraged to work with their regular piano
partners where possible.

Student pianists normally participate in this elective and work with singers as assigned by the project
tutor. Where student pianists are not available, pianists will be organized/assigned by the School.

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11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
Practical classes/workshops for each module 12

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A
Practical skills assessment 20 mins performance KPE 60 50
Continuous assessment Progress report KCW 40 50
Module B
Practical skills assessment 20 mins performance KPE 60 50
Continuous assessment Progress report KCW 40 50

c) Independent Study hours Notional Hours


Self-directed group rehearsal/study for each module 88
d) Total student learning hours for each module 100

13. Reading & Resources


Students should refer to the reading lists of the Vocal Studies handbook. Teachers advise repertoire
and reading lists to students individually. Possible texts include:
Title Author Publisher Year
Handbook of Diction for Singers: Adams, David New York: Oxford 1999
Italian, German, French University Press
Francis Poulenc: The Man and his Bernac, Pierre London: Gollancz 1977
Songs
The Interpretation of French Song Bernac, Pierre London: Gollancz 1976
Schubert's Winter Journey: Bostridge, Ian London: Faber 2014
Anatomy of an Obsession
Researching the Song Emmons, Shirlee & New York: Oxford 2006
Lewis, Wilbur University Press
Nineteenth Century German Lied Gorrell, Lorraine Pompton Plains: Amadeus 1993
Press
Singing in French: a manual of Grubb, T London: CollierMacmillan 1979
French diction and French vocal
repertoire
A French Song Companion Johnson, G & Stokes Oxford: OUP 2000
R

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Title Author Publisher Year
Gabriel Fauré: The Songs and their Johnson, Graham Aldershot: Ashgate; 2009
Poets London: Guildhall School of
Music & Drama
Franz Schubert: The Complete Songs Johnson, Graham New Haven: Yale University 2014
Press
A French Companion Johnson, Graham Oxford: Oxford University 2000
and Stokes, Richard Press
Lieder Line by Line Phillips, Lois London: Duckworth 1979
Journal de mes Mélodies Poulenc, Francis London: Gollancz 1985
The Songs of Robert Schumann Sams, Eric Methuen 1969
The Songs of Johannes Brahms Sams, Eric New Haven: Yale University 2000
Press
The Songs of Robert Schumann Sams, Eric London: Eulenberg 1975
The Songs of Hugo Wolf Sams, Eric London: Faber 1992
An Interpretive Guide to Operatic Singher, Martial Pennsylvania: Pennsylvania 1983
Arias University Press
The Book of Lieder Stokes, Richard London: Faber 2005
Rachmaninoff’s Complete Songs: a Sylvester, Richard D. Bloomington: Indiana 2014
companion with texts and University Press
translations
Tchaikovsky’s Complete Songs: a Sylvester, Richard D. Bloomington: Indiana 2002
companion with texts and University Press
translations
Sing English Song Varcoe, Stephen London: Thames 2000
Heinrich Heine and the Lied Youens, Susan Cambridge: Cambridge 2007
University Press
Hugo Wolf and his Mörike Songs Youens, Susan Cambridge: Cambridge 2000
University Press

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1. Module Title
Voiceworks A (Singers)
Voiceworks B (Singers)
2. FHEQ level 7
Each module: 10
Singers may opt to take either or both modules
3. Credit Value Composers participate only on Voiceworks A. This
constitutes one of the five main PS projects and may be
submitted in their final portfolio.
ELE4055 (A)
4. SITS module code
ELE4056 (B)
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
Head of Vocal Department
7. Module Leader
Associate Head of Composition (Postgraduate)
8. Department Vocal Studies, Composition

9. Aims of the Module


These modules are only available to postgraduate singers, and enables creative collaboration between
them, pianists, composers and writers from the School. This module aims to:
• Enable singers, composers/writers, and pianists to work together in creating and performing
new song repertoire.
• To offer singers the opportunity to develop a specialism in contemporary song repertoire, with or
without piano.
• Work on concentration and mental focus, to generate and communicate music and text with
clarity, intelligence and meaning.
• Develop appropriate communication and interaction skills both between composers, writers and
performers and in relation to audiences and performance partners.
• Prepare concerts for public showing.

10. Teaching & Assessment Methodology


• Module A - Wigmore Voiceworks (10 credits)
New song repertoire for voice(s) and piano or instrumental chamber ensemble is produced in
collaboration between Guildhall singers, composers and writers from the MA in Opera Making.
This is written with the specific acoustic and space of London’s Wigmore Hall in mind and
performed at a Voiceworks concert in Wigmore Hall. For composition students, this is assessed as
a component of their final portfolio. For singers this is assessed with a performance (60%) and
continuous assessment of workshop/seminar participation (40%).

• Module B - New Song Voiceworks (10 credits)


This module explores the wealth of new song repertoire composed in recent decades through
special projects designed each year to illuminate particular areas of this repertoire. Appropriate
repertoire is selected in consultation with course tutors and coached in a series of group and/or
individual workshops, leading to performances of up to 20 minutes of music. The assessment
involves the performance (60%) and continuous assessment of workshop participation (40%).

N.B. As numbers are limited for each project, auditions are likely to be required.

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11. Learning outcomes: please refer to the Programme Specification:
A1, A2, A3, B1, B2, , C1, C2, C3, , D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours –
Type Contact Hours
Practical classes/workshops for each module 12

b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Wigmore Voiceworks
Practical skills assessment Performance/composition KPE 60 50
Participation and
Continuous assessment KCW 40 50
engagement
New Song Voiceworks

Practical skills assessment 20 mins performance KPE 60 50


Participation and
Continuous assessment KCW 40 50
engagement

c) Independent Study hours Notional Hours


Personal practice/study per module 88
d) Total student learning hours for module 100

13. Reading & Resources


Title Author Publisher Year
New Vocal Repertory: An Jane Manning Oxford: OUP 1994
Introduction, Vol 1

New Vocal Repertory: An Jane Manning Oxford: OUP 1998


Introduction, Vol 2

New Vocal Repertory: An Jane Manning Oxford: OUP 2018


Introduction, Vol 3
‘Text and music: some new directions’ Lawrence Kramer Contemporary Music 1989
(Contemporary Music Review, Review
Volume 5, Issue 1, pp. 143-153)
Exploring Twentieth-Century Vocal Sharon Mabry Oxford: OUP 2002
Music

Guildhall Artist Masters Gold Copy 2018/19 Page 109 of 129


1. Module Title
Wind, Brass & Percussion Solo
Recital
2. FHEQ level 7
3. Credit Value 20
4. SITS module code
5. Location of Delivery Guildhall School
6. Applicable in the year of study Part 1
7. Module Leader Head of WBP
8. Department WBP

9. Aims of the Module


This module provides students, whose professional and artistic focus is normally chamber or
ensemble performance, with the opportunity to develop further the repertoire, and the artistic and
professional skills for recital performance.

10. Teaching & Assessment Methodology


There are no additional PS hours allocated to this module, but students can allocate, in negotiation
with their HoD, up to 15 hours of their normal PS lesson allocation towards the specific preparation
for this module.

The module is assessed with one performance of 40-minute (total on-stage time, with a minimum of
25 minutes of music) of contrasting repertoire. Copies of the music and a printed programme must
be supplied on the day for the panel.

11. Learning outcomes: please refer to the Programme Specification:


A1, A2, A3, A7, A8, B1, B2, B4, C1, C2, C3, C6, C8, C9, D1, D2, D3, D4

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
One- to –one class/tutorial (up to) 15
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark

Performance (min. 25
Practical skills assessment KPE 100 50
minutes of music)

c) Independent Study hours Notional Hours


Personal practice/study 185
d) Total student learning hours for module 200

13. Reading & Resources


Students should refer to the reading lists of the principal study modules. Professors advise repertoire
and reading lists to students individually.

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Guildhall School of Music & Drama
Guildhall Artist Masters
(Revalidation 2018)
Leadership Pathway modules
Revalidated to teach out pathway

Guildhall Artist Masters Gold Copy 2018/19 Page 111 of 129


1. Module Title
Leadership Principal Study
(Part 1)
2. FHEQ level Level 7

3. Credit Value 120


4. SITS module code LEA4044
5. Location of Delivery Guildhall School & placements
6. Applicable in the year of study Part 1
7. Module Leader Head of Creative and Professional Practice
8. Department Creative Learning

9. Aims of the Module


This module is at the centre of teaching and learning in Leadership of Part 1 of the Guildhall Artists
Programme.

The module enables the student to develop a portfolio of skills in one or several of these roles:
creative leader, collaborator, composer, workshop leader, producer, practice-based researcher and
performer. Students develop progressively and focus their individual artistic practice through
experiential learning opportunities across a broad spectrum of creative practices and social and
cultural contexts. This includes cross-arts, inter-cultural and community contexts as well as
residencies, laboratories and taught sessions focusing on approaches to collaborative composition,
music-making, practice-based research and critical reflection.

As a self-reflective practitioner, students develop awareness of the nature of their own artistic
practice and its global/historical context, influences and working methods. This module aims to
develop in students the following:
• Have formed a synthesis between creative ideas, critical awareness and technical and personal
skills.
• Have considerable capacity in leading music-based activity in creative, participatory contexts
particular to their practice.
• Be clearly aware of the breadth of the professional and social contexts within which their
discipline is practiced, and have developed their own attitude to current issues.
• Be able to respond confidently and imaginatively to challenges associated with their area of
practice, capable of making realistic and informed choices and decisions in complex and
unpredictable situations.
• Be able to support their ongoing professional development through reflective and reflexive
practice, applying their critical capabilities constructively to both their own work and the work
of others.
• Have developed considerable capacity across a range of generative processes enabling them to
initiate and contribute to new developments in their chosen area of artistic practice.
• Be enabled to take direct responsibility for their own professional future, through having
confidence in their musical and analytical/reflective abilities, artistic curiosity, and personal
initiative and determination.

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10. Teaching & Assessment Methodology
The module is offered over two years. It is delivered through one-to-one mentoring, a set number of
creative collaborative projects (always amounting to the equivalent contact hours), seminars,
discussion groups, practical sessions with tutors/practitioners, cross-cultural and cross-arts research
laboratories, and a range of performance events and presentations.

Informal formative opportunities include oral and written feedback from project leaders and key
staff, peer group assessment, ongoing discussion with mentor(s), interim reviews with the student’s
mentor and panel of key staff, monitoring of practical work through recording and peer group
evaluation of experiences.

Written feedback is given to the student at the end of each project.

The formal assessment consists of two parts:


First assessment (end of year 1) 30%:
• 30-minute Viva, including a 15-20 minute presentation of a portfolio of work that reflects the
student’s artistic practice up to this point of the programme.

Second assessment (end of year 2) 70%:


• A 30-minute performance event or presentation incorporating the student’s active participation
and leadership (35%);
• A 45-minute Viva, including a 15-20 minute presentation of the final performance event project
and the student’s core artistic practice (20%);
• A Portfolio (mixed media including written work, minimum 3000 - maximum 5000 words)
(15%)

11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A3, A4, A5, A6, B1, B2, B3, B4, B5, B6, C1, C2, C3, C6, C7, C8, C9

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours over two years
Seminar 60
One-to–one class/tutorial 44
Practical classes/workshops 180

b) Assessment
% % Pass
KIS Assessment Type Detail KIS code
Weighting Mark
Year 1
Oral assessment Viva 30 mins KPE 30 50
Year 2
Practical skills assessment Performance event (30 mins)
or or KPE 35 50
Oral assessment Presentation (30 mins)

Guildhall Artist Masters Gold Copy 2018/19 Page 113 of 129


Oral assessment Viva 45 mins KPE 20 50
Mixed media portfolio (3000 - 5000
Portfolio KCW 15 50
words )

c) Independent Study hours Notional Hours


Personal practice/study 786
Library-based study 130
d) Total student learning hours for module 1200

13. Reading & Resources


Title Author Publisher Year
Improvisation: its Nature and Bailey, D The British Library, 1992
Practice in Music London
A Year of Swollen Appendices Eno, B Faber and Faber 1996
Music, Society and Education Small, C Wesleyan University Press 1996
Out of our Minds – learning to be Robinson, K Capstone, Oxford 2001
Creative
Community Music: A handbook McKay, G and Moser, Russel House Publishing 2005
P
African Rhythm and African Chernoff, JM The University of Chicago 1979
Sensibility Press

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1. Module Title Leadership Portfolio (Part 2)
2. FHEQ level Level 7

3. Credit Value 150


4. SITS module code LEA4045
5. Location of Delivery Guildhall School & placements
6. Applicable in the year of study Part 2
7. Module Leader Head of Creative and Professional Practice
8. Department Creative Learning

9. Aims of the Module


This module is at the centre of teaching and learning of Part 2 of the Leadership Pathway of the
Guildhall Artist Programme. Prerequisites for this module are:
• a minimum final aggregate of 60% in Principal Study in Leadership (Part 1).
• submission by the end of the Spring Term of Part 1 of a successful plan of artistic and
professional development for Part 2.

This module aims to:


• Consolidate at professional level the capacity in planning and leading music-based activity in a
variety of ensemble performance contexts.
• Consolidate the ability to reflect profoundly on the nature of musical excellence and on their
own relationship with the world of music-making, and to understand and evaluate the practices
involved in the creation, performance and transmission of music.
• Promote in the students responsible engagement between context, audience and musical
material, while devising and projecting their musical ideas in a wide variety of performance
settings.
• Develop in students the critical questioning of boundaries of music practice and the
understanding of the implications of the multi-disciplinary nature of music for contemporary
creation, innovation and research.
• Embed in the students capacities and resources for shaping their own professional future,
through having confidence in their musical abilities, artistic curiosity, and personal initiative
and determination, and through having a capacity to make realistic and informed choices and
decisions even in complex and unpredictable situations.

10. Teaching & Assessment Methodology


Students’ learning is almost entirely autonomous, with relevant mentors and the programme leader
offering feedback, advice and criticism.

Students undertake a portfolio of three performance events as a Leader, Performer and


Creator/Collaborator that are meant to strengthen their own artistic development in these three
areas. The assessed performance events (each to be a minimum of 30 minutes in length) comprise the
following:
• One performance event should focus on the student as a Leader involving non-specialist
musicians from the wider community e.g. young people in a school, patients in a healthcare

Guildhall Artist Masters Gold Copy 2018/19 Page 115 of 129


setting etc.
• One performance event should focus on the student as a Performer within an ensemble of
musicians using repertoire based and/or especially composed material.
• One performance event should focus on the student as a Creator/Collaborator where all
material has been composed and led by the student and is performed in collaboration with other
performing artists

We recommend that all three events take place externally to the School, however, if appropriate, the
event that focuses on the student as a performer could be presented internally. All events should
display a connection to a variety of styles and genres of music and the student is expected to work
with an artist from another discipline in at least one of the events. The performance events should
draw on contributions from other Guildhall students (in Performance, Leadership or Composition)
as well as collaborators from outside the School.

Each of the three performances is assessed as a whole in terms of their success as a complete event.
Each performance is equally weighted. The student gives a final Viva presentation at the end of the
year and is expected to demonstrate an in depth understanding of his/her role and potential as a
portfolio practitioner within the artistic, cultural and educational sectors.

11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A3, A4, A5, A6, B1, B2, B3, B4, B5, B6, C1, C2, C3, C6, C7, C8, C9

12. Module Pattern


a) Scheduled Teaching & Learning hours
Type Contact Hours
One- to –one class/tutorial 15
Practical classes/workshops 90
Supervised time in studio/workshop/productions/rehearsals 30

b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills assessment Performance Event 1 KPE 25 50
Practical skills assessment Performance Event 2 KPE 25 50
Practical skills assessment Performance Event 3 KPE 25 50
Oral assessment Viva Presentation KPE 25 50

c) Independent Study hours Notional Hours


Personal practice/study 1365
d) Total student learning hours for module 1500

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13. Reading & Resources
Title Author Publisher Year
Music of the Common Tongue Small, C Wesleyan University Press 1998
Inside the Music Ehrlich, D Shambhala Publications 1997
Transforming Music Education Jorgensen, E Indiana University Press 2003
The Reenchantment of Art Gablik, S Thames and Hudson 1991
Ocean of Soul Toop, D Serpent’s Tail 1995
The Ambient Century Prendergast, M Bloomsbury 2000

Guildhall Artist Masters Gold Copy 2018/19 Page 117 of 129


1. Module Title Professional Practice I & II
2. FHEQ level 7
20 credits - Year 1
3. Credit Value
40 credits - Year 2
Part 1, Year 1: PPL4046
4. SITS module code
Part 1, Year 2: PPL4047
5. Location of Delivery Guildhall School, residential locations
6. Applicable in the year of study Part 1
7. Module Leader Head of Creative and Professional Practice
8. Department Creative Learning

9. Aims of the Module


The professional practice modules link to the Creation & Performance in Community Settings and
Collaborative Practice elements of the Principal Study Part 1 module for the Leadership pathway.
Through projects and residencies, techniques and skills learnt in the Principal Study Module are
consolidated.

These modules aim to:


• enable students to take direct responsibility for their own professional future, through having
confidence in their musical abilities, artistic curiosity, and personal initiative and determination;
• encourage engagement in mutual learning with colleagues and project participants.

10. Teaching & Assessment Methodology


These modules are primarily formative in nature and are therefore offered on a pass/fail basis only.
To pass there is a minimum attendance requirement of 85% and tutors also need to confirm that the
student’s conduct and attitude has been professional. Each student needs to be seen to work
effectively within their team as a collaborative musician as well as display the capacity to lead
creative tasks with groups of varying standards and abilities. To aid accurate assessment, a written
confirmation should be attained from a project tutor or organiser, where the performance of each
student is addressed.

11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A6, B1, B5, B6, C1, C2, C5, C7, C8, C9

Page 118 of 129 Guildhall Artist Masters Gold Copy 2018/19


12. Module Pattern
a) Scheduled Teaching & Learning hours
Type Contact Hours
Supervised time in studio/workshop/ * Exact title or combination of projects may change.
projects/productions/rehearsals Projects will be selected at the start of each academic year
commensurate with the total contact hours required.
Year 1 Projects and residencies
Mad Lab* 35
CPD training weekends* 72
St Mungo’s Homeless Centre* 35
Total 142
Year 2 Projects and residencies
(Im)possibilities* 50
Beit al Musica-Edward Said Collaboration 85
in Palestine*
City Cords* 50
Future Band* 80
St Mungo’s Homeless Charity* 35
Total: 300

b) Assessment – In Year 1 and Year 2


KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Continuous assessment 85% attendance KCW n/a Pass/Fail
Continuous assessment Professional Conduct KCW n/a Pass/Fail
To meet the assessment requirements of the Professional Practice module a student needs to attend
a minimum of 85% of the project sessions including the first and the last session of each project. If
a student fails to meet the attendance requirements without good cause then s/he will be assigned
another project or projects of equivalent length in contact hours.

A student with certified mitigating circumstances who misses either the first or last session, or
who fails marginally to meet the 85% attendance requirement, will be offered a viva to
demonstrate that they have met the learning outcomes of the project. The viva panel will be
established in accordance with School regulation Section 3, 8.3 and will comprise a minimum of
two examiners. The panel will explore the student’s understanding of the elements of the project
that they missed and the relationship of those elements to the project’s objectives.

c) Independent Study hours Notional Hours


Personal practice/study Year 1 58
Year 2 100
d) Total student learning hours for module Year 1 200
Year 2 400

Guildhall Artist Masters Gold Copy 2018/19 Page 119 of 129


13. Reading & Resources
Title Author Publisher Year
Improvisation: its Nature and Bailey, D The British Library, 1992
Practice in Music London
A Year of Swollen Appendices Eno, B Faber and Faber 1996
Music, Society and Education Small, C Wesleyan University Press 1996
Out of our Minds – learning to be Robinson, K Capstone, Oxford 2001
Creative
Community Music: A handbook McKay, G and Moser, P Russel House Publishing 2005
African Rhythm and African Chernoff, JM The University of Chicago 1979
Sensibility Press

Page 120 of 129 Guildhall Artist Masters Gold Copy 2018/19


Guildhall School of Music & Drama
Guildhall Artist Masters
Assessment Criteria

Guildhall Artist Masters Gold Copy 2018/19 Page 121 of 129


GAM Assessment Criteria, Performance, Level 7
Technique and knowledge Performance and /or creative Communication and artistic values Professional
output Protocols
Instrumental/vocal Musical awareness Variety of sound and Communication Ensemble Professional
control and understanding imagination communication standards
Performance displaying genuine mastery and integration of artistic insight, technical command and communicative conviction comparable to a world-class performance standard.
90-100

An exceptionally compelling An exceptionally compelling An exceptionally compelling level of An exceptionally compelling An exceptionally compelling An exceptionally
level of control and mastery of level of command of stylistic quality of sound, a captivating sound level of communicating with level of ensemble compelling level of
80-89

instrument/voice detail and musical insight palette projecting subtle and individual the audience, with a strong communication and awareness and upholding
musical intentions integration of musical insight immediacy, producing a of professional standards
and technical command unified and original of presentation and
interpretation manners
An excellent level of control and An excellent level of An excellent level of quality of sound, An excellent level of An excellent level of ensemble An excellent level of
70-79 [dist.]

mastery of instrument/voice command of stylistic detail an attractive sound palette projecting communicating with the communication and awareness and upholding
and musical insight individual musical intentions audience, with a strong immediacy, resulting in an of professional standards
integration of musical insight integrated and engaging of presentation and
and technical command performance manners

A good level of security and A good level of convincing A good level of quality of sound A good level of engaging the A good level of collaborative A good level of awareness
[merit]

sophistication in the control of musical understanding and communicating a wide range of audience, clear and convincing ethos between members of the and upholding of
60-69

the instrument/voice style musical intentions communication ensemble, resulting in an professional standards of
engaging performance presentation and manners

A satisfactory level of control of A satisfactory level of A satisfactory level of quality of sound, A satisfactory level of engaging A satisfactory level of A satisfactory level of
the instrument/voice awareness of aspects of style with evidence of variety to project the audience ensemble communication, professional standards of
50-59
[pass]

and musical understanding musical intentions with evidence of awareness of presentation and manners
aspects of ensemble playing

A generally unreliable level of A generally unreliable level of A generally unreliable level of quality A generally unreliable level of A generally unreliable level of A generally unreliable
40-49

control of the instrument/voice awareness of stylistic detail of sound, with limited variety to engaging the audience interaction with ensemble level of professional
[fail]

that limits the projection of and of musical understanding project musical intentions members and of engagement standards of presentation
musical intentions with shared musical ideas and manners
An unsatisfactory level of control An unsatisfactory level of An unsatisfactory level of quality and An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
0-39

of the instrument/voice that stylistic awareness, limited variety of sound to project musical engaging the audience interaction with ensemble professional standards,
seriously impinges on the and inconsistent musical intentions members systematic failures in
projection of musical intentions understanding professionalism

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GAM Assessment Criteria, Composition, Portfolio submission (Level 7)
Technique & knowledge Creative Imagination Professional protocols
Work displaying genuine mastery and integration of artistic insight, technical command and communicative conviction comparable to a world-class creative and
artistic standard.
90+

Exceptionally compelling and sophisticated control of Exceptionally compelling and imaginative work An exceptionally compelling awareness and
80-89

structure, materials and forces. projecting a sophisticated aesthetic sensibility and upholding of professional presentation standards of
communicating both subtle and individual musical presentation and notation, communicating the
intentions with clarity. composer’s intentions with clarity and elegance.
Excellent and highly impressive control of structure, Excellent and highly imaginative work projecting a An excellent awareness and upholding of professional
70-79

materials and forces. consistent and coherent aesthetic sensibility and standards of presentation and notation,
(dist.)

communicating subtle musical intentions with communicating the composer’s intentions with
clarity. sophistication and fluency.
Good and generally convincing control of structure, Good and consistently imaginative work projecting A good awareness and upholding of professional
(merit)
60-69

materials and forces. generally coherent aesthetic aims and generally standards of presentation and notation,
communicating musical intentions with clarity. communicating the composer’s intentions with detail
and accuracy.
Satisfactory work with some control of structure, Satisfactory work shows some imagination and some A satisfactory awareness of professional standards of
50-59
(pass)

materials and forces. ability to project aesthetic aims, and communicates presentation and notation, but with some inaccuracies
musical intentions with some degree of clarity. and errors.

Recognisable but limited control of structure, Work shows limited but acceptable degrees of A generally unreliable level of awareness of
40-49

materials and forces. imaginative engagement and basic aesthetic professional standards of presentation and notation,
(fail)

awareness; some musical intentions are projected with consistent inaccuracies and errors.
with a limited degree of clarity.
Very inconsistent and inadequate control of structure, Inadequate imaginative engagement and little or no An unsatisfactory level of awareness of professional
materials and forces. aesthetic awareness. Musical intentions are not standards of presentation and notation, with
0-39

communicated clearly. inadequate standards of notation.

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GAM Assessment Criteria, Reflection (Level 7)
Technique and knowledge Content and /or creative Communication and academic values Professional Protocols
output
Questions Experiences Development Reflection Language Presentation
(required or chosen
mode)
An outcome displaying unique developmental insight though integration of rigorous reflection on individual artistic experiences, mastery of reflective tools and imaginative supporting contexts. Practical
100
90-

results and critically appraised and communicated in a most compelling and fluent way.

An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of resourcefulness, level of acquisition and level of synthesis of the level of rigour, insight and level of communication, stylish, level of presentation standards
.80-89

relevance and depth of internalisation of experiences dynamics of artistic and persuasiveness in the pursuit of fluent and personal ready for publication
questioning, showing personal development, showing self-awareness
exceptional and methodical use strong imagination and
of appropriate reflective tools individuality
An excellent level of An excellent level of acquisition An excellent level of synthesis An excellent level of rigour, An excellent level of An excellent level of
resourcefulness, relevance and and internalisation of of the dynamics of artistic and emerging insight, and communication; stylish and presentation standards which
70-79
[dist.]

depth of questioning, showing experiences personal development, showing persuasiveness in the pursuit of fluent enhances the reader’s
good and methodical use of imagination and individuality self-awareness appreciation of the material
appropriate reflective tools
A good level of resourcefulness A good level of acquisition and A good level of synthesis of A good level of clarity and A good level of A good level of presentation
[merit]
60-69

and relevance of questioning, processing of experiences issues of artistic and personal persuasiveness in the pursuit of communication; fluent and standards, laying out material
showing generally consistent development, showing some self-awareness clear, with a broadly correct use with clarity
use of reflective tools individuality of language
A satisfactory level of relevance A satisfactory level of A satisfactory level of interest in A satisfactory level of clarity A satisfactory level of A satisfactory level of
50-59
[pass]

of questioning, showing some acquisition and processing of considering issues of artistic and and conviction in the pursuit of communication, fluent and presentation standards, showing
evidence of non-casual use of experiences personal development, with an self-awareness mostly clear, with an an awareness of the School’s
reflective tools attempt at individuality understandable use of language Style Guide
A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
40-49 [fail]

questioning, with some but acquisition of self-awareness, engagement with issues of clarity or conviction in the communication; a limited and presentation standards, showing
inconsistent use of reflective with some but un-processed artistic and personal pursuit of self-awareness, mostly confused use of language limited awareness and
tools elements of value development, with some showing a limited attempt at implementation of the School’s
limited elements of interest reflection Style Guide
An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
questioning, showing very little acquisition of self-awareness, engagement with issues of clarity or conviction in the communication; very confused presentation standards showing
0-39

awareness of reflective tools with very few elements of value artistic and personal pursuit of self-awareness, and poor use of language very limited skills
development with very few showing a very limited attempt
elements of interest at reflection

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GAM Assessment Criteria, Academic (Level 7)
Technique and knowledge Content and/or creative Communication and academic values Professional Protocols
output
Research Understanding Content Critical discussion Language Presentation (required
or chosen mode)
An outcome displaying distinctive academic mastery, showing a thorough command of both the specific topic and the wider contemporary academic field. The submission integrates rigorous critical insight
90

10
-

with original thinking, and is communicated with an effectiveness comparable to standards for publication or presentation to an expert audience
An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of resourcefulness, level of acquisition and level of synthesis of complex level of rigour, insight and level of communication; stylish, level of presentation standards,
80-89

relevance and depth, showing internalisation of knowledge information, concepts and persuasiveness in the handling fluent, and personal ready for dissemination to a
exceptional knowledge of the material, showing strong of concepts and material specialist audience
wider contemporary academic imagination and individuality
field
An excellent level of An excellent level of acquisition An excellent level of synthesis An excellent level of rigour, An excellent level of An excellent level of
resourcefulness, relevance and and internalisation of of complex information, emerging insight, and communication; stylish and presentation standards, which
70-79
[dist.]

depth, showing excellent knowledge concepts and materials, showing persuasiveness in the handling fluent enhances the reader’s
knowledge of the wider imagination and individuality of concepts and material appreciation of the material
contemporary academic field
A good level of resourcefulness, A good level of acquisition and A good level of synthesis of A good level of clarity and A good level of A good level of presentation
relevance and range, processing of knowledge information and materials, persuasiveness in the processing communication; fluent and standards, laying out material
[merit]
60-69

acknowledging the wider showing some individuality of ideas and information, with clear with a broadly correct use with clarity
contemporary academic field some evidence of critical of language
appraisal of sources

A satisfactory level of relevance A satisfactory level of A satisfactory level of A satisfactory level of clarity A satisfactory level of A satisfactory level of
and range, although not acquisition and processing of information, mostly derivative, and conviction in the processing communication; fluent and presentation standards, at a
50-59
[pass]

demonstrating engagement knowledge, although not but with an attempt at of information, with limited mostly clear with an minimum adhering to the
beyond class material demonstrating understanding individuality evidence of critical appraisal of understandable use of language School’s Style Guide for
beyond class material sources referencing
A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
40-49 [fail]

engagement with source acquisition, with information, with some limited clarity or conviction in the communication; a limited and presentation standards showing
material with some limited misunderstandings of class elements of relevance consideration of information, mostly confused use of language limited awareness and
material of research value material showing little critical appraisal implementation of the School’s
of sources Style Guide
An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
engagement with source acquisition, with serious information with very limited clarity or conviction in the communication; very confused presentation standards
0-39

material of very limited misunderstandings and flaws elements of relevance consideration of information, and poor use of language
research value showing very little critical
appraisal of sources

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GAM Assessment Criteria, Artistic (Level 7)
Technique and knowledge Content and /or creative output Communication and academic values Professional Protocols
Skills Models Output Originality Communication Presentation

An outcome displaying a unique creative output, showing integration at the highest level of skills, internalisation of context and parameters, and originality and insight. An outcome that also shows a mode and
100
90-

power of communication completely integral to the values and significance of the output.

An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of acquisition of creative level of acquisition and level of integration of specific level of originality and risk- level of persuasion in the level of presentation standards
.80-89

skills and of resourcefulness of internalisation of relevant artistic context and individual taking, accomplished with projection of artistic content in line with artistic and
creative means artistic models and contexts imagination rigour and insight and values professional contexts

An excellent level of acquisition An excellent level of acquisition An excellent level of integration An excellent level originality An excellent level of persuasion An excellent level of
70-79

of creative skills and of and internalisation of relevant of specific artistic context and and risk-taking, accomplished in the projection of artistic presentation standards in line
[dist.]

resourcefulness of creative artistic models and contexts individual imagination with rigour and insight content and values with artistic and professional
means contexts

A good level of creative skills A good level of acquisition and A good level of interplay of A good level of personal ideas A good level of communicative A good level of presentation
[merit]
60-69

and means processing of general artistic general artistic issues and pursued with clarity and tools for expressing artistic ideas standards, effective for general
models individual ideas interest public display

A satisfactory level of creative A satisfactory level of A satisfactory level of interplay A satisfactory level of personal A satisfactory level of A satisfactory level of
skills and means acquisition and processing of of general artistic issues and ideas pursued with clarity and communicative tools for presentation standards, broadly
50-59
[pass]

general artistic models some individual ideas interest expressing artistic ideas effective for general public
display

A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
creative skills, with some but acquisition of artistic models, engagement with artistic issues, personal ideas, showing limited communication; a limited and presentation standards, showing
40-49
[fail]

inconsistent use of relevant with some but un-processed with some limited elements of attention to details mostly confused projection of limited scope for public display
tools elements of value interest ideas

An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
creative skills, showing very acquisition of artistic models engagement with artistic issues personal ideas, showing very communication; very confused presentation standards showing
0-39

little use of relevant tools with very few elements of value and very few elements of limited attention to details and poor projection of ideas very limited scope for public
interest display

Page 126 of 129 Guildhall Artist Masters Gold Copy 2018/19


Level 7 Assessment Criteria: Leadership Pathway – for teaching out the pathway
Qualities required in the oral
Qualities recognisable in leadership
% examination
Communication Awareness Craft / Structure Control of resources
A leadership project displaying a genuine integration of musical insight, technical command and Polished communication ~ impressive ability
90 communicative conviction to analyse and reflect upon their work as a
leader/performer/composer; comprehensive
Compelling capacity to Complete command of
understanding of the nature of musical and
communicate with and context, musical detail An impressive command
A complete mastery of artistic quality and contemporary directions of
to respond to and of musical structure and
artistic forces the portfolio practitioner
participants and artistic/educational material
Distinction audiences overview
80
Clear and convincing
Convincing evidence
capacity to Clear and convincing
of context, musical Clear and convincing
communicate with and capacity to control artistic
detail and command of musical
to respond to forces and to project musical
artistic/educational structure and material
participants and intention
70 overview
audiences

Careful and organised communication ~


Consistent capacity to
Clear awareness of Generally convincing generally convincing self-critical attitude and
communicate with and Generally convincing
context, musical detail capacity to control artistic ability to analyse their work, utilising a broad
Merit to respond to command of musical
and artistic / forces and to project musical understanding of the nature of musical and
participants and structure and material
educational overview intention artistic quality and contemporary directions of
audiences
the portfolio practitioner
60
Some capacity to
communicate with and Recognisable Coherent communication ~ capable of
Generally proficient
to respond to awareness of context, Generally proficient describing their work with conviction;
capacity to control artistic
Pass participants and musical detail and command of musical evidence of a sound understanding of the
forces and to project musical
audiences artistic/educational structure and material nature of musical and artistic quality and
intention
overview contemporary directions of the portfolio
50
practitioner

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Communication that lacks coherence in places
Recognisable but not
Not always consistent ~ some recognisable capacity to describe their
yet consistent capacity
awareness of context, Generally proficient Some evidence of a capacity work, occasionally lacking conviction;
to communicate with
musical detail and with only occasional to control artistic forces and inconsistent evidence in their understanding
and to respond to
artistic/educational technical limitations to project musical intention and/or knowledge of the nature of musical
participants and
overview and artistic quality and contemporary
audiences
40 directions of the portfolio practitioner
Incoherent communication ~ insufficient
Limited capacity to Limited awareness of capacity to describe their work; insufficient
communicate with and context, musical detail Limited control Insufficient control of evidence in their understanding and/or
Fail
Below 40

to respond to and command of musical resources to project musical knowledge of the nature of musical and
participants and artistic/educational structure and material intentions artistic quality and contemporary directions of
audiences overview the portfolio practitioner

Page 128 of 129 Guildhall Artist Masters Gold Copy 2018/19


Guildhall School of Music & Drama
Guildhall Artist Masters
Breakdown of Principal Study Hours
Breakdown of Principal Study 1-2-1 hours and classes/supervised activities hours (in bracket) by Department and Part of
Programme
Graduate
Part 1 Part 2
Certificate
Composition 30 (82) 30 (75) 30 (100)
Historical Performance 45 (187) 45 (300) 45 (187)
Jazz 40 (187) 40 (300) 40 (187)
Keyboard 60 (110) 60 (100) 60 (104)
Piano Accompaniment 30 (110) 30 (100) 30 (104)
Strings 45 (187) 45 (300) 45 (187)
Strings (Orchestral Artistry) n/a 55 (156) 45 (167)
Vocal 45 (187) 45 (300) 45 (187)
Wind Brass & Percussion 45 (187) 45 (300) 45 (187)
Wind Brass & Percussion (OA) n/a 45 (156) 45 (167)

Guildhall Artist Masters Gold Copy 2018/19 Page 129 of 129

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